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 New Zealand and from Hong Kong.
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 1972.
I'm losing my edge.
To all the kids in Mumbai and Delhi.
I'm losing my edge to the art-school Bologna 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 mellotron 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 Kenny Larkin to the funk kids.
I played it at the Roxy.
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 The Moleskins. All the underground hits.
All Chris & Cosey 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 electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Rhythm & Sound,
Art Ensemble Of Chicago,
Skriet,
The Fall,
Joe Finger,
Wighnomy Brothers & Robag Wruhme,
Aural Exciters,
Dave Gahan,
Scion,
Laurel Aitken,
Teenage Jesus and the Jerks,
Gerry Rafferty,
Sunsets and Hearts,
This Heat,
Hardrive,
Model 500,
Jesper Dahlback,
Justin Hinds & The Dominoes,
Lonnie Liston Smith,
The Standells,
T. Rex,
John Coltrane,
Brass Construction,
Symarip,
Bizarre Inc.,
Man Eating Sloth,
Sexual Harrassment,
Accadde A,
Pole,
Motorama,
Joyce Sims,
Alice Coltrane,
Funkadelic,
Theoretical Girls,
Nick Fraelich,
the Sonics,
The Monochrome Set,
Throbbing Gristle,
Jacques Brel,
The Moody Blues,
John Holt,
Negative Approach,
Brand Nubian,
Flamin' Groovies,
Buzzcocks,
48th St. Collective,
Flash Fearless,
Sparks,
Toni Rubio,
Gil Scott Heron,
The Moleskins,
Max Romeo,
The Dave Clark Five,
Captain Beefheart & His Magic Band,
New York Dolls,
Byron Stingily,
DJ Sneak,
Radiopuhelimet,
Mad Mike,
Soft Cell,
Quantec,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.