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 Netherlands and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Calgary 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 clarinet 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 Sällskapet to the disco kids.
I played it at the 40 Watt.
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 Supertramp. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Funky Four + One 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 '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Man Parrish,
Mars,
Skaos,
Sight & Sound,
Bang On A Can,
Marc Almond,
Joensuu 1685,
Magazine,
Wire,
OOIOO,
Infiniti,
Hasil Adkins,
The Cramps,
Fear,
MC5,
Chris & Cosey,
Oblivians,
Bush Tetras,
Graham Central Station,
Oneida,
The Techniques,
Cybotron,
Guru Guru,
Lakeside,
Lou Reed,
Urselle,
Gang Starr,
Moby Grape,
Pet Shop Boys,
Deakin,
Ajijia Myrayebe,
Kaleidoscope,
John Foxx,
The Mighty Diamonds,
F. McDonald,
Peter and Kerry,
Rhythm & Sound,
Echo & the Bunnymen,
Loose Ends,
June of 44,
John Lydon,
Easy Going,
The Associates,
Jeff Mills,
Deepchord,
Kevin Saunderson,
The Gun Club,
Jeru the Damaja,
Jimmy McGriff,
Todd Rundgren,
James Chance & The Contortions,
Lee Hazlewood,
Super Lover Cee & Casanova Rud,
Girls At Our Best!,
The Fuzztones,
Sun City Girls,
Cabaret Voltaire,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.