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 Togo and from Johannesburg.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Sao Paulo 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 Lou Reed 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 Lalann to the electroclash kids.
I played it at CBGB's.
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 Buzzcocks. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Lalann,
Panda Bear,
Anakelly,
Al Stewart,
Henry Cow,
Pussy Galore,
Swell Maps,
Steve Hackett,
Urselle,
Red Lorry Yellow Lorry,
Echospace,
The Five Americans,
The Alarm Clocks,
Sparks,
Ken Boothe,
Jacques Brel,
Sandy B,
The West Coast Pop Art Experimental Band,
Metal Thangz,
Justin Hinds & The Dominoes,
Cal Tjader,
Darondo,
Ultravox,
Judy Mowatt,
Eden Ahbez,
Funkadelic,
The Techniques,
The Kinks,
CMW,
Toni Rubio,
Junior Murvin,
Man Parrish,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Quantec,
Erasure,
The Mighty Diamonds,
Suburban Knight,
Grandmaster Flash,
Fluxion,
Aaron Thompson,
the Fania All-Stars,
Pole,
Josef K,
Grey Daturas,
Dead Boys,
Yazoo,
T.S.O.L.,
Bootsy's Rubber Band,
Cybotron,
the Germs,
Kings Of Tomorrow,
Second Layer,
The Stooges,
New York Dolls,
Traffic Nightmare,
Stereo Dub,
The American Breed,
Johnny Osbourne,
Dorothy Ashby,
Technova,
Crispian St. Peters,
Scrapy, Scrapy, Scrapy, Scrapy.
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.