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 Korea North and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Hong Kong 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 Donald Fagen 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 Pierre Henry to the techno kids.
I played it at the Spitz.
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 Public Enemy. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Zapp 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Duran Duran,
The Durutti Column,
Nick Cave & The Bad Seeds,
Girls At Our Best!,
Althea and Donna,
Henry Cow,
The Cure,
Saccharine Trust,
Goldenarms,
Joensuu 1685,
Roy Ayers Ubiquity,
The Cramps,
Severed Heads,
Faraquet,
The Fuzztones,
Bobby Hutcherson,
Tropical Tobacco,
Cluster,
Tubeway Army,
The Evens,
Derrick Morgan,
The Raincoats,
Scan 7,
Los Fastidios,
Wire,
Camberwell Now,
Terry Callier,
Soft Machine,
Arcadia,
The Alarm Clocks,
Todd Rundgren,
Funky Four + One,
The West Coast Pop Art Experimental Band,
Liliput,
The Electric Prunes,
The Music Machine,
Donny Hathaway,
Dark Day,
Lou Reed & John Cale,
The Names,
Larry & the Blue Notes,
R.M.O.,
Q and Not U,
Nation of Ulysses,
Cameo,
Max Romeo,
Crooked Eye,
8 Eyed Spy,
Fear,
Bang on a Can All-Stars,
Connie Case,
Technova,
Mr. Review,
Barry Ungar,
Gong,
Lalo Schifrin,
Gil Scott-Heron & Brian Jackson,
Parry Music,
The Modern Lovers,
Fat Boys,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.