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 Russia and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Accra and Seoul.
I'm losing my edge to the art-school Edmonton 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 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 Slave to the funk kids.
I played it at the Crocodile.
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 Gian Franco Pienzio. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Brick,
Byron Stingily,
The Star Department,
Lee Hazlewood,
the Sonics,
Grauzone,
The Saints,
Electric Prunes,
10cc,
Gian Franco Pienzio,
Hot Snakes,
David Bowie,
Fela Kuti,
Faraquet,
The Sonics,
Gong,
The Cure,
Althea and Donna,
Inner City,
Public Image Ltd.,
Rod Modell,
Make Up,
Tim Buckley,
Yazoo,
B.T. Express,
Masters at Work,
Robert Wyatt,
Alice Coltrane,
Index,
Siglo XX,
The Doors,
Procol Harum,
Guru Guru,
Lucky Dragons,
Alison Limerick,
Graham Central Station,
Hashim,
Cecil Taylor,
Bobby Sherman,
The United States of America,
The Flesh Eaters,
Lou Reed,
Sunsets and Hearts,
Man Eating Sloth,
The Knickerbockers,
Godley & Creme,
The Velvet Underground,
The Five Americans,
PIL,
CMW,
Ponytail,
Lizzy Mercier Descloux,
Charles Mingus,
Leonard Cohen,
The Monks,
Scientists,
Todd Terry,
The Cosmic Jokers,
Boredoms,
Sarah Menescal,
Ash Ra Tempel,
MDC,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.