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 Montenegro and from Manchester.
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 Stockholm and Sao Paulo.
I'm losing my edge to the art-school New York 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 The Chocolate Watch Band to the grime kids.
I played it at the Troubador.
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 Easy Going. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Dark Day,
It's A Beautiful Day,
the Association,
Vainqueur,
The Raincoats,
Guru Guru,
Man Eating Sloth,
Agent Orange,
Inner City,
Ultra Naté,
Ice-T,
Judy Mowatt,
Todd Rundgren,
Siouxsie and the Banshees,
Marvin Gaye,
Pet Shop Boys,
The West Coast Pop Art Experimental Band,
Public Enemy,
Circle Jerks,
B.T. Express,
Drexciya,
Scratch Acid,
K-Klass,
Graham Central Station,
The Music Machine,
Bill Wells,
Idris Muhammad,
Delta 5,
Duran Duran,
Althea and Donna,
Fifty Foot Hose,
the Sonics,
Richard Hell and the Voidoids,
The Fugs,
The Slits,
Desert Stars,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Donny Hathaway,
AZ,
48th St. Collective,
The Fire Engines,
Davy DMX,
Pete Rock & C.L. Smooth,
The Index,
Nick Cave & The Bad Seeds,
Tom Boy,
The Count Five,
Siglo XX,
Dead Boys,
Donald Byrd,
Big Daddy Kane,
Talk Talk,
Yellowson,
Au Pairs,
Glambeats Corp.,
Johnny Osbourne,
Mad Mike,
Monolake,
The Wake,
Peter & Gordon,
Soulsonic Force,
Technova,
Jacques Brel,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.