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 Mali and from Edmonton.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Colin Newman to the punk kids.
I played it at the Troubador.
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 Captain Beefheart & His Magic Band. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every PIL 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
The Golliwogs,
The West Coast Pop Art Experimental Band,
Outsiders,
Lalo Schifrin,
Max Romeo,
Angry Samoans,
Goldenarms,
Von Mondo,
Buzzcocks,
The J.B.'s,
Sight & Sound,
Ultimate Spinach,
the Soft Cell,
Suicide,
Andrew Hill,
Matthew Bourne,
Guru Guru,
Arab on Radar,
The Doors,
Don Cherry,
The Alarm Clocks,
Kayak,
Ronan,
Gil Scott Heron,
Byron Stingily,
Ludus,
Slave,
Peter & Gordon,
Tears for Fears,
Scratch Acid,
John Coltrane,
Bizarre Inc.,
Johnny Osbourne,
The Mighty Diamonds,
Kool G Rap & DJ Polo,
Anakelly,
Justin Hinds & The Dominoes,
Dark Day,
Pete Rock & C.L. Smooth,
Glenn Branca,
The Leaves,
Jandek,
X-101,
Deutsch Amerikanische Freundschaft,
Crime,
The Real Kids,
Jesper Dahlback,
Lucky Dragons,
James White and The Blacks,
Eli Mardock,
Wire,
The Toasters,
the Swans,
ABC,
Alice Coltrane,
Lightning Bolt,
The Skatalites,
Reuben Wilson,
Carl Craig,
The Techniques,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.