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 Burundi and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1974.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Nik Kershaw to the grime kids.
I played it at Cafe Wha.
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 Roxy Music. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Terry Callier 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
The Litter,
Gichy Dan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pete Rock & C.L. Smooth,
The Gun Club,
Stetsasonic,
Kango’s Stein Massive,
Heavy D & The Boyz,
John Holt,
Khruangbin,
Avey Tare & Kría Brekkan,
Severed Heads,
Jimmy McGriff,
Bill Wells,
Gang of Four,
The Doors,
The Count Five,
The Busters,
Rhythm & Sound,
Curtis Mayfield,
Circle Jerks,
Tommy Roe,
Scott Walker + Sunn O))),
Bang on a Can All-Stars,
David Axelrod,
Chris & Cosey,
Hot Snakes,
Mandrill,
The Alarm Clocks,
K-Klass,
Warren Ellis,
Au Pairs,
10cc,
Angels of Light & Akron/Family,
Black Pus,
Mars,
The Black Dice,
The Gories,
Theoretical Girls,
Hoover,
Be Bop Deluxe,
Gang Green,
Soul Sonic Force,
Robert Görl,
Pole,
Spandau Ballet,
The Misunderstood,
Donny Hathaway,
Goldenarms,
Electric Prunes,
the Normal,
Pharaoh Sanders and the Fire Engines,
Pulsallama,
Popol Vuh,
Lebanon Hanover,
Icehouse,
Nation of Ulysses,
Stereo Dub,
The Doobie Brothers,
Fad Gadget,
Aloha Tigers,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.