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 Argentina and from Cairo.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Taipei 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Scrapy to the disco 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 Jesper Dahlbäck. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Albert Ayler 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Steve Hackett,
Terror Squad Feat. Camron,
Supertramp,
Glambeats Corp.,
Alice Coltrane,
Marc Almond,
X-102,
The Five Americans,
Iggy Pop,
Sunsets and Hearts,
The Golliwogs,
Davy DMX,
The Sound,
The Mummies,
Harpers Bizarre,
Yazoo,
The Gories,
Panda Bear,
MDC,
The Doors,
Easy Going,
Nik Kershaw,
Max Romeo,
K-Klass,
The Fortunes,
The Misunderstood,
Roger Hodgson,
Letta Mbulu,
Piero Umiliani,
Kaleidoscope,
The Music Machine,
La Düsseldorf,
Kool G Rap & DJ Polo,
Anakelly,
Amon Düül,
Shoche,
Skarface,
Brick,
Pylon,
Thompson Twins,
Flash Fearless,
Wolf Eyes,
Visage,
Sonny Sharrock,
Jeru the Damaja,
Interpol,
Stockholm Monsters,
The Seeds,
Ponytail,
Nils Olav,
Hot Snakes,
Curtis Mayfield,
Surgeon,
Funky Four + One,
Index,
Crispy Ambulance,
the Bar-Kays,
CMW,
Circle Jerks,
Roy Ayers,
Jawbox,
Tropical Tobacco,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.