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 Korea South and from Woodstock.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Bremen and Milan.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 N.O.R.E. Featuring Pharrell to the jazz 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 Larry & the Blue Notes. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Hot Snakes 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
James White and The Blacks,
The Vogues,
Mark Hollis,
Blancmange,
The Jesus and Mary Chain,
Pete Rock & C.L. Smooth,
Average White Band,
Gang Green,
The Star Department,
Cameo,
E-Dancer,
The Dave Clark Five,
Model 500,
Desert Stars,
Teenage Jesus and the Jerks,
Visionaries,LMNO, T- Love & Iriscience,
Television Personalities,
Suicide,
China Crisis,
Minutemen,
Rhythim Is Rhythim,
Ludus,
The Monks,
Television,
Jawbox,
The Doobie Brothers,
Magazine,
Soft Machine,
Hashim,
Popol Vuh,
Gil Scott-Heron & Brian Jackson,
Deutsch Amerikanische Freundschaft,
Don Cherry,
John Coltrane,
The Fuzztones,
Jesper Dahlback,
Faraquet,
Sad Lovers and Giants,
the Germs,
Ultramagnetic MC's,
Janne Schatter,
Porter Ricks,
Gary Puckett & The Union Gap,
The Stooges,
Minny Pops,
Masters at Work,
Nick Fraelich,
Spoonie Gee,
Fear,
Avey Tare & Kría Brekkan,
Japan,
Gang Gang Dance,
Sex Pistols,
Avey Tare's Slasher Flicks,
Mission of Burma,
Nico,
Young Marble Giants,
Traffic Nightmare,
Public Image Ltd.,
The Names,
Maurizio, Maurizio, Maurizio, Maurizio.
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.