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 Malaysia and from Stockholm.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Accra and Houston.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the güiro 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 Sarah Menescal to the grunge 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 La Düsseldorf. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every The Chocolate Watch 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 '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Bobby Sherman,
The Monks,
The Velvet Underground,
The Gun Club,
Suicide,
Theoretical Girls,
Peter and Kerry,
Neil Young & Crazy Horse,
Moss Icon,
The Birthday Party,
Los Fastidios,
Stereo Dub,
Guru Guru,
Gary Puckett & The Union Gap,
Nick Cave & The Bad Seeds,
Bang On A Can,
The Slackers,
Jeff Lynne,
The Divine Comedy,
Aural Exciters,
Easy Going,
Donny Hathaway,
DJ Sneak,
Leonard Cohen,
Kango’s Stein Massive,
Delta 5,
X-101,
Sister Nancy,
Notorious Big And Bone Thugs,
Drexciya,
Spandau Ballet,
Sixth Finger,
The Techniques,
Cal Tjader,
Ultravox,
The Index,
PIL,
Goldenarms,
Man Eating Sloth,
Lafayette Afro Rock Band,
The West Coast Pop Art Experimental Band,
Slave,
Soft Cell,
Roy Ayers Ubiquity,
Avey Tare's Slasher Flicks,
Thompson Twins,
Glambeats Corp.,
The Skatalites,
Yazoo,
The Tremeloes,
The Victims,
Lindisfarne,
The Five Americans,
Brass Construction,
Scientists,
Dennis Brown,
The Electric Prunes,
The Kinks,
Vladislav Delay,
E-Dancer,
U.S. Maple,
Visage, Visage, Visage, Visage.
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.