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 Afghanistan and from Manchester.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Columbus and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Teenage Jesus and the Jerks to the jazz kids.
I played it at the Hacienda.
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 Terry Callier. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal grime 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 a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Eric Copeland,
Art Ensemble Of Chicago,
Barclay James Harvest,
The Invisible,
Minny Pops,
Bill Wells,
Amon Düül,
Deutsch Amerikanische Freundschaft,
Larry & the Blue Notes,
Be Bop Deluxe,
Mad Mike,
Frankie Knuckles,
Crime,
the Soft Cell,
Heavy D & The Boyz,
Quando Quango,
Lalann,
Nils Olav,
Lafayette Afro Rock Band,
Little Man,
Soulsonic Force,
Liaisons Dangereuses,
Jeru the Damaja,
The Alarm Clocks,
Excepter,
Janne Schatter,
The Seeds,
The Residents,
Altered Images,
Joe Smooth,
Young Marble Giants,
Neu!,
Robert Görl,
Idris Muhammad,
Groovy Waters,
New Order,
Mars,
Cameo,
Cal Tjader,
Television Personalities,
the Normal,
Fifty Foot Hose,
Roger Hodgson,
Can,
The Mighty Diamonds,
Arab on Radar,
Bang On A Can,
The Blackbyrds,
Simply Red,
Pantytec,
Alice Coltrane,
Youth Brigade,
The Trojans,
Khruangbin,
The Sisters of Mercy,
London Community Gospel Choir,
DeepChord presents Echospace,
The Gap Band,
Flipper,
The Young Rascals,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.