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 Eritrea and from Calgary.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Toronto 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the snare 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 These Immortal Souls to the rock kids.
I played it at the Roxy.
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 Joe Finger. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Deutsch Amerikanische Freundschaft,
Slave,
Q65,
Spoonie Gee,
Lindisfarne,
Yusef Lateef,
a-ha,
Slick Rick,
Crispy Ambulance,
Public Image Ltd.,
Letta Mbulu,
Saccharine Trust,
FM Einheit,
Jawbox,
Yellowson,
Glenn Branca,
Von Mondo,
Altered Images,
Can,
Peter Gordon & Love of Life Orchestra,
Jesper Dahlback,
James White and The Blacks,
Quantec,
Cluster,
Japan,
Fela Kuti,
Tommy Roe,
Negative Approach,
Lou Reed & Metallica,
Reuben Wilson,
Scott Walker + Sunn O))),
Eurythmics,
the Normal,
Dead Boys,
Barry Ungar,
Heavy D & The Boyz,
Colin Newman,
Brothers Johnson,
Gregory Isaacs,
The Evens,
The Monks,
Minutemen,
Don Cherry,
Mantronix,
Moby Grape,
Todd Terry,
Gastr Del Sol,
Aloha Tigers,
Second Layer,
Dual Sessions,
Blake Baxter,
Yazoo,
Spandau Ballet,
Toni Rubio,
Donny Hathaway,
Gichy Dan,
The Fortunes,
The Standells,
Judy Mowatt,
Stiv Bators,
Lalann,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.