Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Argentina and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1978.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Milan kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Neu! to the rap kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Red Lorry Yellow Lorry. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Hasil Adkins,
Jimmy McGriff,
the Association,
Royal Trux,
Los Fastidios,
Technova,
Max Romeo,
the Sonics,
Sly & The Family Stone,
Michelle Simonal,
Traffic Nightmare,
Massinfluence,
Don Cherry,
Notorious BIG live in Amsterdam,
Scott Walker,
The Tremeloes,
Matthew Halsall,
Mark Hollis,
Bill Near,
Zero Boys,
Ralphi Rosario,
Minor Threat,
ABC,
Young Marble Giants,
Aaron Thompson,
Steve Hackett,
Wally Richardson,
Skarface,
Echo & the Bunnymen,
The Martian,
Mad Mike,
Cal Tjader,
James Chance & The Contortions,
Sällskapet,
Q65,
Flipper,
Sister Nancy,
Grandmaster Flash,
The Offenders,
Slick Rick,
The Seeds,
Susan Cadogan,
The Black Dice,
B.T. Express,
Notorious Big And Bone Thugs,
Roy Ayers,
Throbbing Gristle,
Saccharine Trust,
Japan,
Dual Sessions,
Justin Hinds & The Dominoes,
Hoover,
Malaria!,
La Düsseldorf,
Eric Dolphy,
Sam Rivers,
The West Coast Pop Art Experimental Band,
Liliput,
Lizzy Mercier Descloux,
Depeche Mode,
Lower 48,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.