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 Kazakhstan and from Lille.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1972.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school Lille 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 Michael McDonald 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 Swell Maps to the electroclash 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 L. Decosne. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every The Smoke 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispy Ambulance,
48th St. Collective,
The Misunderstood,
Marcia Griffiths,
Sex Pistols,
New Order,
Nico,
Rowland S Howard / Lydia Lunch,
Scrapy,
Kaleidoscope,
Chris & Cosey,
London Community Gospel Choir,
Sparks,
Cameo,
Livin' Joy,
The Birthday Party,
Ajijia Myrayebe,
The J.B.'s,
Siouxsie and the Banshees,
Sun City Girls,
Cymande,
Howard Jones,
Sexual Harrassment,
Jeff Mills,
Strawberry Alarm Clock,
Jacques Brel,
Model 500,
R.M.O.,
Todd Terry,
Ken Boothe,
Robert Görl,
The Fugs,
Danielle Patucci,
Al Stewart,
Lyres,
Delta 5,
Deakin,
Black Sheep,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jesper Dahlback,
Zapp,
David McCallum,
Neil Young,
Graham Central Station,
Liliput,
Susan Cadogan,
The Cramps,
H. Thieme,
Jawbox,
Underground Resistance,
Traffic Nightmare,
The Slits,
K-Klass,
Crash Course in Science,
Ponytail,
The Moleskins,
Blossom Toes,
Stetsasonic,
Lalo Schifrin,
Kerrie Biddell,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.