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 Iceland and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 Seoul and Tehran.
I'm losing my edge to the art-school Bologna 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 Lou Reed 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 Arthur Verocai to the rock kids.
I played it at the Roxy.
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 Ossler. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every The Evens 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Organ,
Richard Hell and the Voidoids,
Ituana,
T. Rex,
Electric Prunes,
These Immortal Souls,
Judy Mowatt,
Pantaleimon,
Man Parrish,
Audionom,
Tubeway Army,
Susan Cadogan,
Metal Thangz,
Erykah Badu,
Man Eating Sloth,
Radiopuhelimet,
One Last Wish,
Donald Byrd,
Adolescents,
L. Decosne,
Radiohead,
Sällskapet,
Sparks,
Radio Birdman,
Scion,
Public Enemy,
Quantec,
Make Up,
Terry Callier,
The Invisible,
Drexciya,
La Düsseldorf,
Jeru the Damaja,
Cluster,
Lou Reed & John Cale,
Outsiders,
Sister Nancy,
Heavy D & The Boyz,
The Red Krayola,
Danielle Patucci,
Dark Day,
ABC,
Henry Cow,
Das Ding,
The Selecter,
Rhythm & Sound,
Graham Central Station,
Idris Muhammad,
Brothers Johnson,
Pete Rock & C.L. Smooth,
The Monks,
MDC,
Second Layer,
Cabaret Voltaire,
Accadde A,
The Trojans,
Quando Quango,
Godley & Creme,
Beasts of Bourbon,
Skaos,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.