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 Tuvalu and from Accra.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Bologna and New York.
I'm losing my edge to the art-school Houston 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Severed Heads to the crunk kids.
I played it at the Astoria.
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 Brass Construction. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Tomorrow,
Moby Grape,
Andrew Hill,
Sonny Sharrock,
Bootsy Collins,
Wolf Eyes,
The Smoke,
Deutsch Amerikanische Freundschaft,
Ultra Naté,
Infiniti,
Gastr Del Sol,
Robert Wyatt,
Freddie Wadling,
Deadbeat,
Fort Wilson Riot,
Suburban Knight,
The Pretty Things,
Marmalade,
Curtis Mayfield,
The Invisible,
Leonard Cohen,
Goldenarms,
The Five Americans,
Icehouse,
New Age Steppers,
Robert Görl,
DeepChord presents Echospace,
Negative Approach,
Depeche Mode,
Lalo Schifrin,
Mandrill,
Super Lover Cee & Casanova Rud,
Jimmy McGriff,
The Alarm Clocks,
The Chocolate Watch Band,
Aaron Thompson,
K-Klass,
Essential Logic,
It's A Beautiful Day,
Agent Orange,
Mad Mike,
Zero Boys,
Michelle Simonal,
Gang Gang Dance,
John Holt,
Thee Headcoats,
Lou Reed,
The Young Rascals,
John Foxx,
Avey Tare & Kría Brekkan,
Country Teasers,
Tears for Fears,
Angels of Light & Akron/Family,
The Birthday Party,
Anthony Braxton,
Rufus Thomas,
Funkadelic,
The Motions,
Gang Starr,
Qualms,
Oneida,
The Trojans,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.