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 Canada and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1979.
I'm losing my edge.
To all the kids in New York and Stockholm.
I'm losing my edge to the art-school Salvador 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 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 Nik Kershaw to the electroclash kids.
I played it at CBGB's.
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 Eric Dolphy. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal techno 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson 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?
Oppenheimer Analysis,
Sam Rivers,
Urselle,
Robert Hood,
Gary Puckett & The Union Gap,
Isaac Hayes,
Roy Ayers,
Warsaw,
Thee Headcoats,
Liaisons Dangereuses,
Soul II Soul,
Radiohead,
Derrick Morgan,
DJ Style,
Silicon Teens,
Section 25,
Eurythmics,
Scientists,
The Velvet Underground,
Morten Harket,
The Skatalites,
8 Eyed Spy,
Joey Negro,
Whodini,
Black Pus,
Siouxsie and the Banshees,
Joensuu 1685,
Albert Ayler,
Gichy Dan,
Matthew Bourne,
A Certain Ratio,
The Toasters,
Lucky Dragons,
Art Ensemble Of Chicago,
Darondo,
The Flesh Eaters,
Wasted Youth,
The Gun Club,
Lou Reed & John Cale,
The Searchers,
Eric Dolphy,
Lou Christie,
Suburban Knight,
Neil Young,
Sällskapet,
John Cale,
Amazonics,
Donny Hathaway,
The Pop Group,
The Moleskins,
Porter Ricks,
Harry Pussy,
Strawberry Alarm Clock,
Drive Like Jehu,
Bang On A Can,
the Slits,
Soft Cell,
Kango’s Stein Massive,
Bizarre Inc.,
The Cowsills,
Simply Red, Simply Red, Simply Red, Simply Red.
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.