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 Maldives and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Bologna 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Swans to the jazz 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 Clear Light. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Davy DMX 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
ABBA,
The Litter,
Joe Smooth,
Spandau Ballet,
Public Image Ltd.,
The Pretty Things,
R.M.O.,
Scrapy,
Grandmaster Flash,
Mandrill,
Junior Murvin,
Teenage Jesus and the Jerks,
Thinking Fellers Union Local 282,
Stockholm Monsters,
Sixth Finger,
Boz Scaggs,
Country Joe & The Fish,
Gang Green,
Oppenheimer Analysis,
The Young Rascals,
Slick Rick,
Easy Going,
Janne Schatter,
The Alarm Clocks,
Scientists,
Rufus Thomas,
Suicide,
Franke,
Johnny Osbourne,
Vladislav Delay,
Soft Cell,
Tears for Fears,
Wings,
Major Organ And The Adding Machine,
Hot Snakes,
Moss Icon,
Joy Division,
Vaughan Mason & Crew,
Ice-T,
Public Enemy,
The Sound,
Kenny Larkin,
Skaos,
T.S.O.L.,
Fat Boys,
Swans,
The Remains,
The Gories,
The Offenders,
Eden Ahbez,
Super Lover Cee & Casanova Rud,
Rahsaan Roland Kirk,
Echospace,
Con Funk Shun,
Reuben Wilson,
Frankie Knuckles,
Godley & Creme,
Brass Construction,
Outsiders, Outsiders, Outsiders, Outsiders.
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.