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 Tajikistan and from Paris.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Paris and Salvador.
I'm losing my edge to the art-school Beijing 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 linndrum 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 Can to the crunk kids.
I played it at the Troubador.
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 Lou Christie. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
H. Thieme,
R.M.O.,
Unrelated Segments,
Super Lover Cee & Casanova Rud,
New Age Steppers,
Stockholm Monsters,
Kenny Larkin,
Can,
Brand Nubian,
The Martian,
Bauhaus,
Gang Green,
Howard Jones,
Minutemen,
Pulsallama,
Red Lorry Yellow Lorry,
Vaughan Mason & Crew,
the Fania All-Stars,
Skaos,
Lou Reed,
The Human League,
Kerrie Biddell,
Larry & the Blue Notes,
T. Rex,
The Mighty Diamonds,
Robert Görl,
The Real Kids,
Masters at Work,
Eden Ahbez,
The Music Machine,
Lafayette Afro Rock Band,
Crispy Ambulance,
Mark Hollis,
Camouflage,
The Modern Lovers,
Avey Tare,
Zapp,
Oppenheimer Analysis,
D'Angelo,
Johnny Clarke,
X-101,
The Smoke,
Thompson Twins,
Lee Hazlewood,
Jandek,
Tears for Fears,
Los Fastidios,
The Toasters,
Camberwell Now,
Kauko Röyhkä ja Narttu,
Metal Thangz,
FM Einheit,
The Stooges,
Janne Schatter,
Ash Ra Tempel,
The Trojans,
Selector Dub Narcotic,
The Fire Engines,
Outsiders,
Rakim,
John Cale,
Gang of Four,
Lyres, Lyres, Lyres, Lyres.
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.