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 Suriname and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Spokane and Bremen.
I'm losing my edge to the art-school Edmonton 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 chamberlin 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 Peter and Kerry to the jazz kids.
I played it at the Spitz.
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 Barrington Levy tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
DJ Style,
Sad Lovers and Giants,
Arcadia,
Michelle Simonal,
Excepter,
The Men They Couldn't Hang,
Mark Hollis,
Black Flag,
The Raincoats,
Carl Craig,
Public Image Ltd.,
Cecil Taylor,
The Knickerbockers,
Suburban Knight,
Super Lover Cee & Casanova Rud,
the Soft Cell,
Dawn Penn,
Letta Mbulu,
La Düsseldorf,
Kayak,
Don Cherry,
Idris Muhammad,
Tim Buckley,
Toni Rubio,
Eric Dolphy,
Nick Fraelich,
Second Layer,
Can,
Kool G Rap & DJ Polo,
The Alarm Clocks,
Boogie Down Productions,
The Victims,
Wighnomy Brothers & Robag Wruhme,
Lee Hazlewood,
Scan 7,
The Dave Clark Five,
Lungfish,
Camberwell Now,
KRS-One,
Radio Birdman,
Charles Mingus,
Roxy Music,
Anthony Braxton,
The Sonics,
Scientists,
the Bar-Kays,
the Normal,
Von Mondo,
The Standells,
Black Sheep,
Oblivians,
The Durutti Column,
Rahsaan Roland Kirk,
The Wake,
Ultimate Spinach,
Ohio Players,
Bauhaus,
Ludus,
Panda Bear,
Reagan Youth,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.