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 Fiji and from Hong Kong.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Paris and Toronto.
I'm losing my edge to the art-school Lille 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 The Slits to the electroclash 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 Sixth Finger. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every Tim Buckley record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Soft Machine,
The United States of America,
Aloha Tigers,
Little Man,
Ronnie Foster,
The Dave Clark Five,
Godley & Creme,
Organ,
The Walker Brothers,
10cc,
The Techniques,
The Star Department,
The Human League,
Peter Gordon & Love of Life Orchestra,
James Chance & The Contortions,
Stereo Dub,
Boogie Down Productions,
Louis and Bebe Barron,
Ultra Naté,
Fear,
Hoover,
Eurythmics,
Pulsallama,
Absolute Body Control,
Faraquet,
The Moleskins,
Pussy Galore,
Moebius,
Deakin,
The Divine Comedy,
Porter Ricks,
Gary Puckett & The Union Gap,
Stockholm Monsters,
Rosa Yemen,
Fatback Band,
Shuggie Otis,
Soulsonic Force,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Juan Atkins,
B.T. Express,
Main Source,
Popol Vuh,
Wings,
Colin Newman,
Agent Orange,
Severed Heads,
Los Fastidios,
The Slits,
Notorious BIG live in Amsterdam,
The Doobie Brothers,
Ultimate Spinach,
Symarip,
Lindisfarne,
Blancmange,
Alice Coltrane,
Soul II Soul,
Johnny Osbourne,
ABC,
Drexciya, Drexciya, Drexciya, Drexciya.
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.