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 Montenegro and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Mexico City and New York.
I'm losing my edge to the art-school London 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 harpsichord 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 Colin Newman 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 Stockholm Monsters. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Boz Scaggs record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Qualms,
Moby Grape,
Dorothy Ashby,
The Black Dice,
Barry Ungar,
Au Pairs,
Lee Hazlewood,
Reuben Wilson,
Man Parrish,
Lightning Bolt,
Kool G Rap & DJ Polo,
Andrew Ashong & Theo Parrish,
Negative Approach,
DeepChord presents Echospace,
Charles Mingus,
Rufus Thomas,
Rhythim Is Rhythim,
cv313,
Interpol,
Althea and Donna,
Todd Rundgren,
B.T. Express,
L. Decosne,
Derrick May,
Marine Girls,
Radio Birdman,
Rowland S Howard / Lydia Lunch,
The Selecter,
The Trojans,
X-Ray Spex,
Jawbox,
Scott Walker,
Boogie Down Productions,
Boz Scaggs,
The Music Machine,
Bush Tetras,
Funkadelic,
Royal Trux,
Cal Tjader,
The Index,
Cymande,
The Young Rascals,
John Foxx,
Lou Reed & Metallica,
the Fania All-Stars,
Art Ensemble Of Chicago,
Skaos,
Graham Central Station,
Gabor Szabo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Yusef Lateef,
PIL,
Cecil Taylor,
Tres Demented,
Bobby Womack,
Wire,
Donald Byrd,
Electric Prunes,
Rod Modell,
Al Stewart,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.