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 Botswana and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Jakarta 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 Robert Palmer 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 Make Up to the rock kids.
I played it at the Astoria.
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 Bang on a Can All-Stars. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Tim Buckley,
Rites of Spring,
Young Marble Giants,
Neil Young & Crazy Horse,
Lou Reed & John Cale,
Colin Newman,
The Motions,
Ten City,
Surgeon,
The Saints,
Gong,
Oppenheimer Analysis,
Essential Logic,
Public Enemy,
Faraquet,
Josef K,
Johnny Clarke,
Selector Dub Narcotic,
Yazoo,
Piero Umiliani,
Infiniti,
Graham Central Station,
Yellowson,
Boredoms,
Television Personalities,
Severed Heads,
Jawbox,
Todd Terry,
The Slits,
Röyhkä ja Rättö ja Lehtisalo,
Model 500,
The Knickerbockers,
Bizarre Inc.,
World's Most,
Quantec,
Joe Finger,
The Dave Clark Five,
The Misunderstood,
Second Layer,
LL Cool J,
Audionom,
Stetsasonic,
Janne Schatter,
Yaz,
Fela Kuti,
X-Ray Spex,
the Soft Cell,
Black Moon,
Girls At Our Best!,
Frankie Knuckles,
8 Eyed Spy,
Ken Boothe,
The Names,
The Remains,
Maleditus Sound,
Pole,
China Crisis,
Stockholm Monsters,
Adolescents, Adolescents, Adolescents, Adolescents.
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.