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 Austria and from Lagos.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Toronto and Madrid.
I'm losing my edge to the art-school Stockholm 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 mellotron 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 Janne Schatter to the crunk kids.
I played it at the Crocodile.
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 Rahsaan Roland Kirk. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Heavy D & The Boyz,
John Holt,
Monolake,
Dorothy Ashby,
Q65,
The Alarm Clocks,
Johnny Clarke,
Soul Sonic Force,
The Flesh Eaters,
Soft Cell,
Second Layer,
The Trojans,
Flamin' Groovies,
Bang on a Can All-Stars,
Stereo Dub,
Marshall Jefferson,
Pulsallama,
Yellowson,
Al Stewart,
Tim Buckley,
Gichy Dan,
Rapeman,
Can,
The Leaves,
Godley & Creme,
Smog,
David Bowie,
Fort Wilson Riot,
Unrelated Segments,
Camberwell Now,
Captain Beefheart & His Magic Band,
Sarah Menescal,
The Divine Comedy,
Fear,
Man Parrish,
Aswad,
Zapp,
Joey Negro,
Trumans Water,
This Heat,
Aaron Thompson,
The Motions,
U.S. Maple,
Bill Near,
Half Japanese,
Grauzone,
ABC,
Electric Prunes,
Reagan Youth,
Marc Almond,
Gil Scott-Heron and Jamie xx,
Rahsaan Roland Kirk,
Sun City Girls,
Masters at Work,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
A Flock of Seagulls,
Main Source,
Lalann,
Mark Hollis,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.