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 Papua New Guinea and from Lille.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Bremen and Jakarta.
I'm losing my edge to the art-school Milan 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 David Bowie 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 Flamin' Groovies to the techno kids.
I played it at the 40 Watt.
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 David Bowie. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Stockholm Monsters 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
F. McDonald,
L. Decosne,
Gil Scott Heron,
Faust,
Eli Mardock,
Alton Ellis,
Alison Limerick,
Agitation Free,
Warsaw,
Electric Prunes,
Slave,
48th St. Collective,
Sound Behaviour,
Ornette Coleman,
Gian Franco Pienzio,
Juan Atkins,
the Germs,
Angry Samoans,
Rod Modell,
Andrew Ashong & Theo Parrish,
Liliput,
Subhumans,
the Normal,
Skriet,
Babytalk,
kango's stein massive,
Brick,
Lungfish,
The Doobie Brothers,
Steve Hackett,
David Axelrod,
Roger Hodgson,
Neu!,
Rowland S Howard / Lydia Lunch,
Rakim,
Henry Cow,
Kurtis Blow,
Gary Puckett & The Union Gap,
China Crisis,
Sandy B,
Grauzone,
Hashim,
David McCallum,
Justin Hinds & The Dominoes,
the Slits,
Thompson Twins,
Orchestral Manoeuvres in the Dark,
Bill Wells,
Fugazi,
FM Einheit,
Shoche,
Au Pairs,
The Techniques,
Crooked Eye,
Boredoms,
Tears for Fears,
Neil Young,
Neil Young & Crazy Horse,
The Evens,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.