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 Samoa and from Manchester.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 oboe 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 Thinking Fellers Union Local 282 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 Wolf Eyes. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
The Fugs,
Oppenheimer Analysis,
Peter Gordon & Love of Life Orchestra,
The Smiths,
Sister Nancy,
T.S.O.L.,
Eurythmics,
The Index,
Idris Muhammad,
Amon Düül,
Howard Jones,
the Sonics,
Pet Shop Boys,
Deakin,
Eric Dolphy,
Tropical Tobacco,
cv313,
Soft Machine,
David Bowie,
The Royal Family And The Poor,
Monolake,
Q65,
The Gap Band,
Ultravox,
The Saints,
The Remains,
Electric Prunes,
Zero Boys,
The Standells,
Gil Scott Heron,
Sunsets and Hearts,
Beasts of Bourbon,
Joey Negro,
The Mummies,
Thompson Twins,
the Swans,
The Music Machine,
Deutsch Amerikanische Freundschaft,
Notorious BIG live in Amsterdam,
The Smoke,
Aloha Tigers,
The Tremeloes,
The Gladiators,
The Dead C,
One Last Wish,
Qualms,
DJ Sneak,
Rapeman,
Harpers Bizarre,
Popol Vuh,
Radiopuhelimet,
Swans,
Traffic Nightmare,
Groovy Waters,
Wally Richardson,
Fugazi,
DNA,
Lou Reed & John Cale,
Television,
A Flock of Seagulls,
Gang Starr,
Lindisfarne,
Unrelated Segments,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.