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 Vietnam and from Tehran.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 Taipei and Manchester.
I'm losing my edge to the art-school Lagos 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 arpeggiator 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 Mark Hollis to the rap 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 Jerry Gold Smith. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Gregory Isaacs,
Bizarre Inc.,
The Mojo Men,
Avey Tare's Slasher Flicks,
the Bar-Kays,
The New Christs,
Angry Samoans,
The Techniques,
Dual Sessions,
Aswad,
The Gun Club,
Steve Hackett,
Gerry Rafferty,
World's Most,
Thee Headcoats,
Bush Tetras,
The Music Machine,
Supertramp,
Erykah Badu,
New Order,
Marine Girls,
Roy Ayers,
June of 44,
Kango’s Stein Massive,
Robert Hood,
L. Decosne,
Banda Bassotti,
Rekid,
The Remains,
Pole,
Drexciya,
Monks,
Underground Resistance,
Dead Boys,
Mars,
Newcleus,
Eyeless In Gaza,
H. Thieme,
Peter & Gordon,
Bobby Sherman,
Kevin Saunderson,
Livin' Joy,
Cecil Taylor,
Alison Limerick,
Nick Fraelich,
The Smiths,
Magazine,
Lucky Dragons,
Oppenheimer Analysis,
Qualms,
Talk Talk,
Tropical Tobacco,
Davy DMX,
The Detroit Cobras,
James Chance & The Contortions,
The Names,
Sound Behaviour,
JFA,
Heaven 17,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.