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 Zimbabwe and from Milan.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Cairo and Woodstock.
I'm losing my edge to the art-school Halifax 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 sitar 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 Al Stewart to the jazz 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 Jerry's Kids. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your snare and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
the Soft Cell,
R.M.O.,
Brothers Johnson,
Index,
Tears for Fears,
The Motions,
Sly & The Family Stone,
Shuggie Otis,
Ohio Players,
Lou Reed & John Cale,
Leonard Cohen,
PIL,
The Human League,
The Misunderstood,
Ultramagnetic MC's,
Robert Görl,
Gil Scott-Heron and Jamie xx,
Lalo Schifrin,
Lalann,
Moebius,
Rufus Thomas,
Crispian St. Peters,
The Associates,
Can,
The Wake,
Flamin' Groovies,
Sparks,
Bad Manners,
Franke,
The Toasters,
Connie Case,
Tomorrow,
Notorious Big And Bone Thugs,
Eddi Front,
Joyce Sims,
Pharoah Sanders,
The Men They Couldn't Hang,
Don Cherry,
Grauzone,
Masters at Work,
Eurythmics,
Model 500,
London Community Gospel Choir,
Bush Tetras,
Simply Red,
Q and Not U,
John Foxx,
Major Organ And The Adding Machine,
Hardrive,
Kerrie Biddell,
Ponytail,
The Neon Judgement,
The Knickerbockers,
Rekid,
the Sonics,
Larry & the Blue Notes,
Blake Baxter,
Chrome, Chrome, Chrome, Chrome.
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.