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 Bahrain and from Lagos.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Madrid and Manchester.
I'm losing my edge to the art-school Delhi 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 marimba sounds with much patience.
I was there when Holger Czukay 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 American Breed to the electroclash kids.
I played it at the 40 Watt.
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 Soft Machine. All the underground hits.
All Crime tracks. I heard you have a vinyl of every A Flock of Seagulls record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Wire,
FM Einheit,
Brand Nubian,
Kings Of Tomorrow,
The Fortunes,
Peter & Gordon,
Sex Pistols,
D'Angelo,
Popol Vuh,
Ken Boothe,
Make Up,
Tomorrow,
Teenage Jesus and the Jerks,
The West Coast Pop Art Experimental Band,
The Moody Blues,
Los Fastidios,
Larry & the Blue Notes,
Rod Modell,
Visionaries,LMNO, T- Love & Iriscience,
Kevin Saunderson,
Porter Ricks,
Kayak,
The Peanut Butter Conspiracy,
X-101,
Symarip,
Connie Case,
Can,
Notorious Big And Bone Thugs,
Sun City Girls,
Underground Resistance,
The Seeds,
Orchestral Manoeuvres in the Dark,
Bronski Beat,
Terror Squad Feat. Camron,
Pere Ubu,
Aural Exciters,
Pussy Galore,
Roy Ayers Ubiquity,
The Neon Judgement,
Ash Ra Tempel,
Pulsallama,
The American Breed,
K-Klass,
Neil Young & Crazy Horse,
Harry Pussy,
Todd Rundgren,
Eden Ahbez,
Slave,
Average White Band,
Wighnomy Brothers & Robag Wruhme,
Stiv Bators,
Altered Images,
the Normal,
Davy DMX,
Rotary Connection,
Major Organ And The Adding Machine,
Lalann,
The Pretty Things,
Strawberry Alarm Clock,
Motorama,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.