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 Macedonia and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Delhi.
I'm losing my edge to the art-school Edmonton 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 snare 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 The Cowsills to the rock 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 Man Parrish. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal techno 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
These Immortal Souls,
PIL,
Guru Guru,
A Flock of Seagulls,
Barrington Levy,
London Community Gospel Choir,
The Count Five,
The Litter,
Magma,
The Fire Engines,
Man Eating Sloth,
Jesper Dahlbäck,
Sunsets and Hearts,
Ten City,
Eden Ahbez,
Heaven 17,
Joy Division,
Oblivians,
Television,
Fluxion,
CMW,
Can,
Funkadelic,
Ajijia Myrayebe,
Donny Hathaway,
Metal Thangz,
The Velvet Underground,
Television Personalities,
the Soft Cell,
Minutemen,
Lower 48,
Rhythm & Sound,
John Foxx,
Lizzy Mercier Descloux,
Rites of Spring,
Brass Construction,
Notorious Big And Bone Thugs,
The Blackbyrds,
Monks,
Marmalade,
Rahsaan Roland Kirk,
Orchestral Manoeuvres in the Dark,
Talk Talk,
Theoretical Girls,
The Dead C,
Accadde A,
The Detroit Cobras,
The Divine Comedy,
Ronan,
Black Sheep,
Gil Scott-Heron & Brian Jackson,
Little Man,
La Düsseldorf,
Arthur Verocai,
Stockholm Monsters,
The American Breed,
The Seeds,
Soft Cell,
Robert Hood,
L. Decosne,
In Retrospect,
Unwound, Unwound, Unwound, Unwound.
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.