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 Guinea and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
I'm losing my edge to the art-school Accra 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Khruangbin to the grime kids.
I played it at Cafe Wha.
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 Men They Couldn't Hang. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Black Sheep 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
Dorothy Ashby,
Bootsy's Rubber Band,
Angry Samoans,
R.M.O.,
Technova,
Rhythim Is Rhythim,
Lou Reed & John Cale,
Deakin,
Danielle Patucci,
Lou Reed,
Half Japanese,
Stereo Dub,
The Seeds,
Basic Channel,
Ajijia Myrayebe,
Beasts of Bourbon,
Pete Rock & C.L. Smooth,
Heaven 17,
X-102,
Teenage Jesus and the Jerks,
The Invisible,
Babytalk,
Skaos,
Bobby Sherman,
Wolf Eyes,
Gian Franco Pienzio,
London Community Gospel Choir,
The Five Americans,
Throbbing Gristle,
Henry Cow,
The Pretty Things,
Warren Ellis,
A Certain Ratio,
Icehouse,
Amon Düül,
Crooked Eye,
Sexual Harrassment,
Livin' Joy,
Joe Finger,
The Smiths,
Theoretical Girls,
Trumans Water,
The Victims,
The Beau Brummels,
Red Lorry Yellow Lorry,
The Sisters of Mercy,
Slave,
Zero Boys,
Frankie Knuckles,
Public Image Ltd.,
Freddie Wadling,
Eddi Front,
Magazine,
Lou Reed & Metallica,
MDC,
Q and Not U,
Altered Images,
Barrington Levy,
Surgeon,
Sällskapet,
Gastr Del Sol,
The Birthday Party,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.