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 Brunei 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 1968 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Delhi 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 Bowie practice in a loft in Bromley.
I was working on the güiro 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 Susan Cadogan to the techno 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 The United States of America. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu 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?
Minor Threat,
Excepter,
Kango’s Stein Massive,
Spandau Ballet,
Thee Headcoats,
The West Coast Pop Art Experimental Band,
The Slits,
Major Organ And The Adding Machine,
Big Daddy Kane,
Bizarre Inc.,
The Birthday Party,
Leonard Cohen,
the Swans,
Jesper Dahlback,
the Bar-Kays,
Quando Quango,
Silicon Teens,
The Techniques,
Delon & Dalcan,
Lizzy Mercier Descloux,
The Doors,
Panda Bear,
Chris & Cosey,
the Slits,
Television Personalities,
Q and Not U,
Pussy Galore,
Parry Music,
Whodini,
Erykah Badu,
Bill Wells,
The Monks,
JFA,
Public Image Ltd.,
Scott Walker + Sunn O))),
Roy Ayers,
Sun Ra Arkestra,
Bobby Womack,
kango's stein massive,
Toni Rubio,
Grandmaster Flash,
Stiv Bators,
ABC,
Tres Demented,
Lonnie Liston Smith,
Essential Logic,
Pulsallama,
Cal Tjader,
Kauko Röyhkä ja Narttu,
Rufus Thomas,
Tubeway Army,
Rapeman,
Neil Young & Crazy Horse,
Ten City,
the Fania All-Stars,
Strawberry Alarm Clock,
Isaac Hayes,
Spoonie Gee,
Black Sheep,
The Doobie Brothers,
Half Japanese,
Outsiders, Outsiders, Outsiders, Outsiders.
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.