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 Bhutan and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Woodstock.
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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Jesus and Mary Chain to the jazz kids.
I played it at Trash.
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 Louis and Bebe Barron. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Fear,
Jeru the Damaja,
Gil Scott-Heron and Jamie xx,
The Neon Judgement,
X-102,
Lebanon Hanover,
Scientists,
Absolute Body Control,
Country Teasers,
Piero Umiliani,
Babytalk,
Cal Tjader,
Gil Scott-Heron & Brian Jackson,
Grey Daturas,
Public Image Ltd.,
Infiniti,
Soul Sonic Force,
Grandmaster Flash and the Furious Five,
Man Parrish,
One Last Wish,
James White and The Blacks,
Mantronix,
Half Japanese,
Motorama,
D'Angelo,
Pantaleimon,
Lou Reed & Metallica,
Joe Finger,
Electric Light Orchestra,
Jacob Miller,
Brick,
Adolescents,
Brass Construction,
Alton Ellis,
Charles Mingus,
John Coltrane,
Masters at Work,
Avey Tare's Slasher Flicks,
Yusef Lateef,
The Barracudas,
La Düsseldorf,
Fifty Foot Hose,
Bobbi Humphrey,
Neil Young & Crazy Horse,
Bobby Sherman,
Little Man,
Brothers Johnson,
Franke,
Henry Cow,
Sun Ra Arkestra,
The Blues Magoos,
Deepchord,
Delta 5,
Sunsets and Hearts,
Throbbing Gristle,
Oneida,
Joe Smooth,
Patti Smith,
Dual Sessions,
Major Organ And The Adding Machine,
Slave,
Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds.
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.