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 Qatar and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Lagos 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 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 Jacques Brel to the jazz 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 The American Breed. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal crunk 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 an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Gil Scott Heron,
the Soft Cell,
Jerry Gold Smith,
Major Organ And The Adding Machine,
Lizzy Mercier Descloux,
ABBA,
Scott Walker + Sunn O))),
New Order,
The Seeds,
Morten Harket,
Bizarre Inc.,
Howard Jones,
Lindisfarne,
PIL,
Liaisons Dangereuses,
Gang of Four,
Avey Tare & Kría Brekkan,
Zero Boys,
New York Dolls,
Röyhkä ja Rättö ja Lehtisalo,
Sällskapet,
Soft Cell,
Kings Of Tomorrow,
The Tremeloes,
Grauzone,
Amazonics,
Glenn Branca,
Gerry Rafferty,
Oppenheimer Analysis,
Ossler,
Sandy B,
Pole,
Aloha Tigers,
The Walker Brothers,
Sun Ra,
T.S.O.L.,
Anthony Braxton,
Public Enemy,
Bluetip,
Fela Kuti,
Fort Wilson Riot,
Johnny Clarke,
Kayak,
The Birthday Party,
The Doors,
The Wake,
JFA,
Skriet,
Kaleidoscope,
Severed Heads,
Malaria!,
Vaughan Mason & Crew,
Saccharine Trust,
Bauhaus,
Blossom Toes,
Junior Murvin,
Black Sheep,
The Moleskins,
Soul Sonic Force,
Arab on Radar,
X-101,
Sparks,
Buzzcocks,
Eric B and Rakim,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.