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 Tunisia and from London.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Manchester and Columbus.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Fuzztones to the techno kids.
I played it at CBGB's.
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 Urselle. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Sonny Sharrock record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Bad Manners,
Monks,
Al Stewart,
Mantronix,
The Sound,
Fugazi,
Sonny Sharrock,
Gary Puckett & The Union Gap,
Cybotron,
Charles Mingus,
Sister Nancy,
Roger Hodgson,
Swell Maps,
Rhythm & Sound,
Newcleus,
Scion,
Gang Green,
DeepChord presents Echospace,
June of 44,
Deadbeat,
June Days,
Frankie Knuckles,
Pole,
Eric Dolphy,
Byron Stingily,
Flipper,
Eddi Front,
L. Decosne,
Blake Baxter,
The West Coast Pop Art Experimental Band,
Derrick May,
Lizzy Mercier Descloux,
Pylon,
Excepter,
Jesper Dahlbäck,
Moby Grape,
Red Lorry Yellow Lorry,
The Birthday Party,
John Coltrane,
Vainqueur,
Andrew Hill,
The Seeds,
Young Marble Giants,
Sight & Sound,
Quantec,
The Selecter,
Angry Samoans,
Junior Murvin,
Goldenarms,
The Sonics,
Lou Christie,
Cameo,
Avey Tare,
Nik Kershaw,
The Gladiators,
Drive Like Jehu,
Lower 48,
The Trojans,
The Fall,
Echospace,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.