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 Netherlands and from Philadelphia.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 Dorothy Ashby to the jazz 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 Au Pairs. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Neu! 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
Nick Fraelich,
Flamin' Groovies,
Avey Tare & Kría Brekkan,
David McCallum,
Reuben Wilson,
X-Ray Spex,
Ice-T,
Fatback Band,
The Skatalites,
the Normal,
OOIOO,
Bill Wells,
Gary Puckett & The Union Gap,
Pharaoh Sanders and the Fire Engines,
Television,
Japan,
Zero Boys,
Dave Gahan,
Heavy D & The Boyz,
Matthew Bourne,
The Alarm Clocks,
Mission of Burma,
The Residents,
Marine Girls,
Blossom Toes,
Tomorrow,
Alphaville,
Sixth Finger,
Siouxsie and the Banshees,
Fad Gadget,
Todd Terry,
Urselle,
Dennis Brown,
Bootsy Collins,
Neil Young,
Second Layer,
Gil Scott Heron,
The Gap Band,
Section 25,
The Mighty Diamonds,
Bootsy's Rubber Band,
Marc Almond,
The Moleskins,
Black Sheep,
Altered Images,
the Fania All-Stars,
Jacques Brel,
Art Ensemble Of Chicago,
Reagan Youth,
Kerrie Biddell,
Rod Modell,
Avey Tare's Slasher Flicks,
Model 500,
The United States of America,
The Motions,
David Axelrod,
Liaisons Dangereuses,
Rhythm & Sound,
Delon & Dalcan,
Crooked Eye,
Archie Shepp,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.