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 Ghana and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Beijing and Bremen.
I'm losing my edge to the art-school Mexico City 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 theremin sounds with much patience.
I was there when Lou Reed 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 David Axelrod to the funk 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 Laurel Aitken. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Pantaleimon 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Crispy Ambulance,
La Düsseldorf,
Drexciya,
Newcleus,
Deadbeat,
the Association,
Maurizio,
Khruangbin,
Trumans Water,
Gil Scott-Heron & Brian Jackson,
48th St. Collective,
The Evens,
Icehouse,
Cabaret Voltaire,
Bill Near,
The Doobie Brothers,
Warsaw,
Anthony Braxton,
Moby Grape,
David McCallum,
The Detroit Cobras,
Public Enemy,
Symarip,
Clear Light,
Darondo,
Sällskapet,
Peter Gordon & Love of Life Orchestra,
Lonnie Liston Smith,
X-Ray Spex,
Nik Kershaw,
Circle Jerks,
Unwound,
Flash Fearless,
Sam Rivers,
Reuben Wilson,
Matthew Halsall,
Roger Hodgson,
Infiniti,
A Flock of Seagulls,
Grauzone,
The Techniques,
Henry Cow,
Slave,
The Cure,
The Grass Roots,
Jerry Gold Smith,
Tomorrow,
Bush Tetras,
Larry & the Blue Notes,
The Moody Blues,
Lee Hazlewood,
Bobby Byrd,
Pole,
Connie Case,
The Men They Couldn't Hang,
Hot Snakes,
The Blues Magoos,
Soul II Soul,
D'Angelo,
Rod Modell,
Minutemen,
Tim Buckley,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.