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 Ethiopia and from Sao Paulo.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school Seoul 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Radio Birdman to the rap kids.
I played it at the Spitz.
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 Kerrie Biddell. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Ohio Players 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Visage,
Boz Scaggs,
Jerry Gold Smith,
Minor Threat,
Al Stewart,
The Toasters,
Blossom Toes,
Radiopuhelimet,
Bizarre Inc.,
Nirvana,
Amon Düül,
Man Parrish,
Peter & Gordon,
Bang on a Can All-Stars,
The Count Five,
Lalann,
Franke,
Basic Channel,
K-Klass,
The Victims,
KRS-One,
The New Christs,
Intrusion,
Throbbing Gristle,
T.S.O.L.,
Q and Not U,
Ultramagnetic MC's,
The Last Poets,
X-102,
Slave,
X-101,
Cluster,
Ronnie Foster,
Brand Nubian,
The Names,
Bobby Womack,
Connie Case,
Joey Negro,
Average White Band,
Gary Puckett & The Union Gap,
London Community Gospel Choir,
The Royal Family And The Poor,
Charles Mingus,
Notorious Big And Bone Thugs,
The Cowsills,
Minny Pops,
Alice Coltrane,
Roxy Music,
Marc Romboy vs. Booka Shade,
Suburban Knight,
June of 44,
Gil Scott-Heron and Jamie xx,
Bad Manners,
Pantytec,
Bang On A Can,
John Coltrane,
The United States of America, The United States of America, The United States of America, The United States of America.
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.