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 Venezuela and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Madrid and Cairo.
I'm losing my edge to the art-school Jakarta 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 spring reverb 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 Nas to the funk 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 Vladislav Delay. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal jazz 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 a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Delta 5,
Jesper Dahlback,
the Soft Cell,
Todd Rundgren,
Moby Grape,
Joy Division,
Q65,
Fort Wilson Riot,
The Index,
Sällskapet,
Oppenheimer Analysis,
David McCallum,
Icehouse,
The Modern Lovers,
the Bar-Kays,
Terry Callier,
Skarface,
Goldenarms,
June of 44,
Sugar Minott,
Toni Rubio,
Selector Dub Narcotic,
The Evens,
Strawberry Alarm Clock,
Lyres,
48th St. Collective,
The Electric Prunes,
UT,
Lonnie Liston Smith,
The Music Machine,
Laurel Aitken,
Delon & Dalcan,
The Barracudas,
Mad Mike,
The Fugs,
The Gories,
Anakelly,
Absolute Body Control,
Maleditus Sound,
Ken Boothe,
Robert Görl,
Eden Ahbez,
The Martian,
Funky Four + One,
Sandy B,
Crime,
the Sonics,
The Kinks,
Robert Hood,
Vainqueur,
Masters at Work,
Agent Orange,
Dave Gahan,
Matthew Halsall,
The Birthday Party,
Dual Sessions,
Marcia Griffiths,
U.S. Maple,
Danielle Patucci,
Brothers Johnson,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.