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 the UAE and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Salvador and Columbus.
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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Gian Franco Pienzio to the grime kids.
I played it at Cafe Wha.
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 Rhythm & Sound. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Essential Logic,
Section 25,
Terry Callier,
Suicide,
Gichy Dan,
Scientists,
The Last Poets,
Joyce Sims,
The Jesus and Mary Chain,
AZ,
The Dirtbombs,
Stetsasonic,
Freddie Wadling,
Y Pants,
Cal Tjader,
The Music Machine,
Sällskapet,
Piero Umiliani,
The Golliwogs,
R.M.O.,
Dawn Penn,
Marcia Griffiths,
Thinking Fellers Union Local 282,
Lou Reed & Metallica,
The Saints,
Lee Hazlewood,
Althea and Donna,
Eurythmics,
The Blues Magoos,
Funky Four + One,
Lindisfarne,
The Busters,
Subhumans,
Whodini,
Todd Terry,
Parry Music,
Heaven 17,
D'Angelo,
Fad Gadget,
Television,
Strawberry Alarm Clock,
Harpers Bizarre,
The American Breed,
The Residents,
David McCallum,
The Men They Couldn't Hang,
Inner City,
The Birthday Party,
Gerry Rafferty,
Bobby Byrd,
Public Image Ltd.,
Crime,
Rakim,
The Smoke,
La Düsseldorf,
Q and Not U,
Jeru the Damaja,
Sonic Youth,
Zero Boys,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.