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 Lesotho and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Toronto and Copenhagen.
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 synthesizer 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 Country Teasers to the techno kids.
I played it at Cafe Wha.
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 Quantec. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Royal Trux record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Scott Walker,
E-Dancer,
Camouflage,
Altered Images,
The Alarm Clocks,
Section 25,
Ossler,
Man Eating Sloth,
Lou Christie,
Suicide,
The Toasters,
Ken Boothe,
The Moody Blues,
Bluetip,
JFA,
Pharaoh Sanders and the Fire Engines,
Gastr Del Sol,
The Fuzztones,
Lindisfarne,
Zero Boys,
Supertramp,
cv313,
Graham Central Station,
The Mojo Men,
Electric Light Orchestra,
Funky Four + One,
Lee Hazlewood,
Oneida,
The Young Rascals,
The Selecter,
Kerri Chandler,
Harpers Bizarre,
Rhythm & Sound,
Charles Mingus,
Albert Ayler,
Ultra Naté,
The Zeros,
The Motions,
EPMD,
Althea and Donna,
Deadbeat,
Soul II Soul,
Minny Pops,
Andrew Ashong & Theo Parrish,
Wighnomy Brothers & Robag Wruhme,
The Pop Group,
Bobby Hutcherson,
New Age Steppers,
Parry Music,
Bill Wells,
Television,
Visage,
Audionom,
Stereo Dub,
Lalo Schifrin,
Danielle Patucci,
Public Image Ltd.,
Echo & the Bunnymen,
B.T. Express,
UT,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.