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 Iran and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Houston.
I'm losing my edge to the art-school Portland 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 marimba 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 Camouflage to the dance kids.
I played it at the Crocodile.
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 Radio Birdman. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
UT,
Patti Smith,
Barbara Tucker,
Shoche,
Drive Like Jehu,
Blossom Toes,
Aural Exciters,
Lizzy Mercier Descloux,
Camouflage,
Porter Ricks,
Aaron Thompson,
Funkadelic,
Fatback Band,
Lou Reed & Metallica,
Johnny Osbourne,
Moebius,
Thinking Fellers Union Local 282,
Infiniti,
The United States of America,
Reagan Youth,
Boredoms,
Junior Murvin,
Marshall Jefferson,
Todd Rundgren,
T. Rex,
Gregory Isaacs,
In Retrospect,
Easy Going,
Sight & Sound,
Scion,
Marc Romboy vs. Booka Shade,
Oblivians,
Cluster,
Röyhkä ja Rättö ja Lehtisalo,
CMW,
The Victims,
Pierre Henry,
Symarip,
Josef K,
Ultramagnetic MC's,
Mandrill,
Angry Samoans,
Deepchord,
Scientists,
Black Pus,
MDC,
The Blues Magoos,
The Move,
Liliput,
Chris & Cosey,
Monks,
Isaac Hayes,
Aloha Tigers,
the Fania All-Stars,
Whodini,
Ultravox,
Peter Gordon & Love of Life Orchestra,
Roger Hodgson,
Cabaret Voltaire,
Model 500,
Crime, Crime, Crime, Crime.
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.