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 Estonia and from New York.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 organ sounds with much patience.
I was there when Holger Czukay 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 Model 500 to the electroclash kids.
I played it at the Astoria.
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 Eyeless In Gaza. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Visionaries,LMNO, T- Love & Iriscience,
The Doors,
Traffic Nightmare,
The Electric Prunes,
Big Daddy Kane,
Vladislav Delay,
Tres Demented,
Derrick May,
Massinfluence,
Wighnomy Brothers & Robag Wruhme,
Matthew Halsall,
Sun Ra Arkestra,
Spoonie Gee,
Interpol,
Parry Music,
Ornette Coleman,
Buzzcocks,
Simply Red,
Rowland S Howard / Lydia Lunch,
Fluxion,
KRS-One,
Franke,
Blake Baxter,
Quantec,
Nils Olav,
Moby Grape,
Jeru the Damaja,
Kaleidoscope,
Nirvana,
Al Stewart,
Spandau Ballet,
The Techniques,
Donny Hathaway,
Pussy Galore,
Fugazi,
Terrestrial Tones,
Basic Channel,
The Gladiators,
Lightning Bolt,
Letta Mbulu,
Babytalk,
Camberwell Now,
Kauko Röyhkä ja Narttu,
The Shadows of Knight,
Dorothy Ashby,
LL Cool J,
Liliput,
Wire,
Super Lover Cee & Casanova Rud,
The Golliwogs,
Jacques Brel,
Skaos,
Sandy B,
Warren Ellis,
Neil Young & Crazy Horse,
The Blackbyrds,
New York Dolls,
Boredoms,
Pharaoh Sanders and the Fire Engines,
Black Pus, Black Pus, Black Pus, Black Pus.
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.