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 Armenia and from Paris.
But I was there.
I was there in .
I was there at the first Suicide 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 1962 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
I'm losing my edge to the art-school Salvador 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 808 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 Unwound to the rap 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 Section 25. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every F. McDonald 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Gian Franco Pienzio,
Crash Course in Science,
The Offenders,
Depeche Mode,
Kerrie Biddell,
Basic Channel,
Wire,
The Mojo Men,
The Angels of Light,
Main Source,
The Techniques,
The Walker Brothers,
Mars,
Lou Reed,
Moby Grape,
The Doobie Brothers,
The Barracudas,
Visage,
The Buckinghams,
Rites of Spring,
Rhythm & Sound,
Bill Wells,
Johnny Clarke,
Harmonia,
Newcleus,
Essential Logic,
Jandek,
Trumans Water,
Orchestral Manoeuvres in the Dark,
Robert Görl,
Kaleidoscope,
Avey Tare & Kría Brekkan,
Oblivians,
Rapeman,
Organ,
48th St. Collective,
Neu!,
Brothers Johnson,
Negative Approach,
Gastr Del Sol,
Scott Walker,
Peter & Gordon,
Soulsonic Force,
The Skatalites,
Ultimate Spinach,
Alphaville,
The Human League,
The Jesus and Mary Chain,
Grandmaster Flash and the Furious Five,
Scion,
Ohio Players,
Audionom,
Bob Dylan,
In Retrospect,
Bill Near,
Angry Samoans,
Rhythim Is Rhythim,
Röyhkä ja Rättö ja Lehtisalo,
Godley & Creme,
Amon Düül,
Sight & Sound,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.