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 Bosnia Herzegovina and from Seoul.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school Glasgow 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 808 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 Cabaret Voltaire to the dance kids.
I played it at CBGB's.
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 Ludus. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every The Slits 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Spandau Ballet,
The Moleskins,
Johnny Clarke,
Sandy B,
Aaron Thompson,
Sound Behaviour,
Sam Rivers,
Darondo,
Ralphi Rosario,
Radiohead,
Pet Shop Boys,
Heaven 17,
Barry Ungar,
Jacob Miller,
Lalo Schifrin,
Fat Boys,
Au Pairs,
The Cure,
A Flock of Seagulls,
Kurtis Blow,
KRS-One,
Eric B and Rakim,
Nils Olav,
Robert Görl,
Ronnie Foster,
The Raincoats,
Brothers Johnson,
JFA,
the Normal,
Junior Murvin,
Public Image Ltd.,
Crash Course in Science,
Matthew Bourne,
the Bar-Kays,
Peter & Gordon,
The Gun Club,
The Grass Roots,
Derrick Morgan,
Lee Hazlewood,
Magma,
Heavy D & The Boyz,
Bush Tetras,
the Slits,
Country Joe & The Fish,
Sister Nancy,
Reagan Youth,
Leonard Cohen,
John Lydon,
Eurythmics,
Sarah Menescal,
Bootsy Collins,
Toni Rubio,
Pussy Galore,
Monolake,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nico,
Ronan,
The Happenings,
Brand Nubian,
The United States of America,
The Pop Group,
Cameo, Cameo, Cameo, Cameo.
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.