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 Georgia and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Bremen and New York.
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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Freddie Wadling to the grime 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 Jeff Lynne. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your oboe and bought an organ.
I hear that you and your band have sold your organ and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Buzzcocks,
Joe Finger,
Malaria!,
Magazine,
Lizzy Mercier Descloux,
Crash Course in Science,
Byron Stingily,
Pharoah Sanders,
Hashim,
Deepchord,
Con Funk Shun,
Moby Grape,
Scan 7,
KRS-One,
Y Pants,
Don Cherry,
Janne Schatter,
Todd Terry,
Brothers Johnson,
Motorama,
Bootsy's Rubber Band,
Altered Images,
Adolescents,
Eddi Front,
London Community Gospel Choir,
Public Image Ltd.,
Vladislav Delay,
Heaven 17,
The Misunderstood,
Cecil Taylor,
Rosa Yemen,
Sex Pistols,
Godley & Creme,
Gerry Rafferty,
Eurythmics,
Popol Vuh,
Bizarre Inc.,
Blossom Toes,
Delon & Dalcan,
Matthew Halsall,
Rod Modell,
FM Einheit,
Radio Birdman,
Rotary Connection,
In Retrospect,
Major Organ And The Adding Machine,
The Slackers,
Half Japanese,
Dennis Brown,
Rhythim Is Rhythim,
One Last Wish,
Blake Baxter,
Gary Puckett & The Union Gap,
Kas Product,
8 Eyed Spy,
Pussy Galore,
Barry Ungar,
The Index,
Moss Icon,
Nick Fraelich,
Sixth Finger,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.