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 China and from Sao Paulo.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Shanghai 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 David Bowie 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 Ludus to the punk 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 Dawn Penn. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Cameo 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 '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Scratch Acid,
Newcleus,
Sandy B,
Monolake,
The Fall,
Teenage Jesus and the Jerks,
Bill Wells,
Black Flag,
Boz Scaggs,
Spandau Ballet,
Pere Ubu,
It's A Beautiful Day,
Leonard Cohen,
Brass Construction,
Crash Course in Science,
JFA,
The Knickerbockers,
Urselle,
The Detroit Cobras,
Cameo,
Heaven 17,
James Chance & The Contortions,
Bobby Hutcherson,
Eric B and Rakim,
Television Personalities,
the Germs,
Avey Tare,
Niagra,
The Pop Group,
Bob Dylan,
June of 44,
The Remains,
Erasure,
Boogie Down Productions,
Siouxsie and the Banshees,
Fatback Band,
Röyhkä ja Rättö ja Lehtisalo,
The Fugs,
Liliput,
Cecil Taylor,
Flash Fearless,
Johnny Clarke,
Yaz,
Public Image Ltd.,
Moss Icon,
Alton Ellis,
Bronski Beat,
Amazonics,
Duran Duran,
Robert Hood,
Grey Daturas,
Donald Byrd,
48th St. Collective,
Reuben Wilson,
The Cure,
Kas Product,
Ken Boothe,
Nas,
Ossler,
DNA,
Brick,
The Divine Comedy,
The Index, The Index, The Index, The Index.
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.