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 Hungary and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Halifax.
I'm losing my edge to the art-school Bremen 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 marimba 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 Simply Red to the crunk kids.
I played it at Cafe Wha.
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 Sunsets and Hearts. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Pussy Galore,
Unrelated Segments,
Teenage Jesus and the Jerks,
Scratch Acid,
Roger Hodgson,
Pere Ubu,
Blancmange,
Strawberry Alarm Clock,
X-102,
The Fortunes,
The Residents,
Au Pairs,
Andrew Ashong & Theo Parrish,
The Raincoats,
World's Most,
Model 500,
The Cure,
James White and The Blacks,
Bill Wells,
Mr. Review,
Sly & The Family Stone,
Barbara Tucker,
The Moleskins,
Angels of Light & Akron/Family,
Mars,
The Durutti Column,
Dave Gahan,
Notorious BIG live in Amsterdam,
Half Japanese,
Gregory Isaacs,
The Men They Couldn't Hang,
Chrome,
Janne Schatter,
Nik Kershaw,
The Invisible,
the Slits,
the Sonics,
John Coltrane,
Jacques Brel,
Sunsets and Hearts,
Derrick Morgan,
Dead Boys,
Susan Cadogan,
Blake Baxter,
Black Moon,
Simply Red,
Accadde A,
Jeru the Damaja,
Magazine,
The Pop Group,
John Holt,
Sandy B,
Con Funk Shun,
Rod Modell,
The Evens,
Supertramp,
Swans,
Pharaoh Sanders and the Fire Engines,
Byron Stingily,
Fela Kuti,
Patti Smith,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.