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 Bremen.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Woodstock.
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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Pere Ubu to the grime 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 Avey Tare. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Little Man 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Lou Reed,
CMW,
The Dirtbombs,
The J.B.'s,
The Knickerbockers,
Technova,
Mo-Dettes,
Larry & the Blue Notes,
the Fania All-Stars,
Clear Light,
Bootsy's Rubber Band,
Nico,
John Coltrane,
Electric Light Orchestra,
kango's stein massive,
Grauzone,
Lakeside,
Rowland S Howard / Lydia Lunch,
Lucky Dragons,
A Flock of Seagulls,
James White and The Blacks,
Laurel Aitken,
Lonnie Liston Smith,
Sunsets and Hearts,
Crash Course in Science,
Jacob Miller,
Hashim,
Thee Headcoats,
The Monochrome Set,
Goldenarms,
Main Source,
Arab on Radar,
Jawbox,
Y Pants,
Bad Manners,
Saccharine Trust,
Gang Starr,
Wally Richardson,
Steve Hackett,
Blake Baxter,
Scientists,
Urselle,
E-Dancer,
U.S. Maple,
Unrelated Segments,
Neil Young & Crazy Horse,
Drive Like Jehu,
Joensuu 1685,
Althea and Donna,
Second Layer,
Surgeon,
Bobby Hutcherson,
Chrome,
DJ Sneak,
Soul Sonic Force,
The Doors,
Rhythm & Sound,
Smog, Smog, Smog, Smog.
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.