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 Bosnia Herzegovina and from Hong Kong.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Andrew Ashong & Theo Parrish to the rock kids.
I played it at Trash.
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 Idris Muhammad. All the underground hits.
All Gong tracks. I heard you have a vinyl of every The Walker Brothers 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Larry & the Blue Notes,
Infiniti,
Ronnie Foster,
Metal Thangz,
Dark Day,
Livin' Joy,
Bush Tetras,
Robert Görl,
The Move,
Dorothy Ashby,
Crispy Ambulance,
48th St. Collective,
Mandrill,
The Human League,
Pantaleimon,
Dead Boys,
Isaac Hayes,
Donny Hathaway,
David Axelrod,
Hot Snakes,
The Modern Lovers,
Flamin' Groovies,
Rufus Thomas,
Eve St. Jones,
Josef K,
Alphaville,
Black Bananas,
The Detroit Cobras,
Moss Icon,
Brothers Johnson,
Rahsaan Roland Kirk,
Nik Kershaw,
Jacques Brel,
A Certain Ratio,
The Wake,
Derrick May,
The Blackbyrds,
Eric Dolphy,
Michelle Simonal,
Boogie Down Productions,
Peter and Kerry,
Yazoo,
Quadrant,
Cluster,
Cabaret Voltaire,
Sarah Menescal,
Louis and Bebe Barron,
Mark Hollis,
kango's stein massive,
LL Cool J,
Scrapy,
Man Eating Sloth,
Skaos,
Masters at Work,
Grandmaster Flash,
Technova,
Super Lover Cee & Casanova Rud,
London Community Gospel Choir,
Brick,
Amazonics,
Lalo Schifrin,
Gong, Gong, Gong, Gong.
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.