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 Norway and from Columbus.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
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 Robert Palmer 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 In Retrospect to the grime kids.
I played it at the Spitz.
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 Main Source. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Essential Logic,
Lonnie Liston Smith,
Visage,
A Flock of Seagulls,
The Star Department,
The Human League,
Andrew Ashong & Theo Parrish,
Howard Jones,
Adolescents,
Terrestrial Tones,
Maurizio,
The Music Machine,
Smog,
Alison Limerick,
Public Image Ltd.,
Radiopuhelimet,
Anakelly,
The Raincoats,
The Alarm Clocks,
Radiohead,
Toni Rubio,
Royal Trux,
The Detroit Cobras,
Popol Vuh,
Connie Case,
The Barracudas,
The Dead C,
The Neon Judgement,
Oneida,
Warsaw,
The Gun Club,
Maleditus Sound,
Negative Approach,
Richard Hell and the Voidoids,
EPMD,
Tears for Fears,
Average White Band,
JFA,
Procol Harum,
Young Marble Giants,
Soft Machine,
Freddie Wadling,
Soul II Soul,
Carl Craig,
The Jesus and Mary Chain,
The Kinks,
Kerrie Biddell,
Gian Franco Pienzio,
Jacques Brel,
The Index,
Kas Product,
Cameo,
Little Man,
Scott Walker,
A Certain Ratio,
Sister Nancy,
The United States of America,
David Bowie,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.