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 Equatorial Guinea and from Seoul.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Calgary and Milan.
I'm losing my edge to the art-school Milan 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Aural Exciters to the rap kids.
I played it at the Astoria.
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 Tim Buckley. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal rock 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Japan,
Johnny Osbourne,
Terry Callier,
Eli Mardock,
Notorious BIG live in Amsterdam,
Andrew Hill,
Yaz,
A Flock of Seagulls,
Cluster,
Circle Jerks,
Malaria!,
Franke,
Echo & the Bunnymen,
Symarip,
Avey Tare,
Aaron Thompson,
The Blackbyrds,
The Evens,
Hashim,
Simply Red,
Echospace,
The Trojans,
Sun Ra Arkestra,
The Doors,
The West Coast Pop Art Experimental Band,
Fluxion,
Moby Grape,
The Fugs,
Crispy Ambulance,
Wighnomy Brothers & Robag Wruhme,
Lalo Schifrin,
The Fuzztones,
Liaisons Dangereuses,
Popol Vuh,
Skarface,
Carl Craig,
Isaac Hayes,
DJ Sneak,
Magazine,
The Pop Group,
EPMD,
The Smiths,
Soulsonic Force,
Barbara Tucker,
Jacob Miller,
Absolute Body Control,
Von Mondo,
Vaughan Mason & Crew,
the Soft Cell,
The American Breed,
Alton Ellis,
Unrelated Segments,
The Associates,
New Order,
Clear Light,
Talk Talk,
Ponytail,
X-102,
Deepchord,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.