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 Venezuela and from Tehran.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Ponytail to the techno 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 Pete Rock & C.L. Smooth. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal disco 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Banda Bassotti,
Camberwell Now,
Organ,
Audionom,
Camron Feat. Memphis Bleek And Beenie Seigel,
The West Coast Pop Art Experimental Band,
Tubeway Army,
Captain Beefheart & His Magic Band,
The Men They Couldn't Hang,
The Velvet Underground,
Lonnie Liston Smith,
Scientists,
Crispian St. Peters,
The Real Kids,
Mo-Dettes,
Bootsy Collins,
Cal Tjader,
Kenny Larkin,
The Beau Brummels,
Anakelly,
Stockholm Monsters,
The Gladiators,
Andrew Ashong & Theo Parrish,
X-102,
Gil Scott Heron,
Suburban Knight,
Alice Coltrane,
The Flesh Eaters,
Gregory Isaacs,
Funky Four + One,
The Golliwogs,
Pagans,
Rahsaan Roland Kirk,
Fugazi,
Jerry Gold Smith,
Surgeon,
Harry Pussy,
Faraquet,
Young Marble Giants,
Hashim,
Rakim,
Ronan,
Gary Puckett & The Union Gap,
Essential Logic,
Severed Heads,
Unwound,
Joyce Sims,
The United States of America,
the Swans,
Public Image Ltd.,
Nick Cave & The Bad Seeds,
Massinfluence,
Tom Boy,
Deutsch Amerikanische Freundschaft,
Accadde A,
Main Source,
Robert Wyatt,
The Sonics,
The Skatalites,
Red Lorry Yellow Lorry,
Whodini, Whodini, Whodini, Whodini.
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.