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 Barbados and from Manchester.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Toronto and Portland.
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 clarinet 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 James White and The Blacks to the electroclash 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 Sister Nancy. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Joensuu 1685,
Pulsallama,
Pole,
The Doobie Brothers,
Liaisons Dangereuses,
Swans,
Neil Young & Crazy Horse,
Trumans Water,
These Immortal Souls,
The American Breed,
Soulsonic Force,
Black Moon,
Godley & Creme,
Louis and Bebe Barron,
Qualms,
The West Coast Pop Art Experimental Band,
Barrington Levy,
Gerry Rafferty,
Drexciya,
Barry Ungar,
Amon Düül,
A Flock of Seagulls,
Swell Maps,
Lindisfarne,
Marc Almond,
Bizarre Inc.,
Rosa Yemen,
CMW,
Animal Collective,
Terrestrial Tones,
The United States of America,
Laurel Aitken,
the Soft Cell,
James Chance & The Contortions,
Nico,
Porter Ricks,
The Angels of Light,
Erasure,
Eli Mardock,
Big Daddy Kane,
DeepChord presents Echospace,
Nation of Ulysses,
Chrome,
The Vogues,
Kool G Rap & DJ Polo,
Mandrill,
Danielle Patucci,
Cal Tjader,
This Heat,
Basic Channel,
Pantytec,
Avey Tare & Kría Brekkan,
The Neon Judgement,
The Smiths,
The Flesh Eaters,
Matthew Bourne,
Slick Rick,
Fifty Foot Hose,
The Skatalites,
Heaven 17,
Zapp, Zapp, Zapp, Zapp.
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.