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 Bolivia and from Manchester.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe 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 Eli Mardock to the electroclash 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 Alison Limerick. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Shoche 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Fat Boys,
Ultramagnetic MC's,
Amon Düül II,
Lakeside,
Soul II Soul,
The Beau Brummels,
Q65,
Beasts of Bourbon,
Nation of Ulysses,
Thinking Fellers Union Local 282,
Sällskapet,
48th St. Collective,
Sun Ra,
Mad Mike,
Bronski Beat,
Aloha Tigers,
Magazine,
The Fall,
Sugar Minott,
Faust,
The Skatalites,
Japan,
Nik Kershaw,
Masters at Work,
Super Lover Cee & Casanova Rud,
Infiniti,
Bill Near,
Jeff Mills,
John Lydon,
The Angels of Light,
Can,
Mark Hollis,
Harry Pussy,
Fifty Foot Hose,
Leonard Cohen,
Piero Umiliani,
The Human League,
The American Breed,
Liliput,
The Vogues,
Swell Maps,
The Barracudas,
Sarah Menescal,
Traffic Nightmare,
Rites of Spring,
Radio Birdman,
Groovy Waters,
Livin' Joy,
Public Image Ltd.,
The Walker Brothers,
Public Enemy,
Trumans Water,
Theoretical Girls,
Selector Dub Narcotic,
Smog,
AZ,
The Fuzztones,
Ultravox,
Alice Coltrane,
Cameo, Cameo, Cameo, Cameo.
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.