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 Swaziland and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Hong Kong and London.
I'm losing my edge to the art-school Taipei 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the harpsichord 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 New York Dolls to the dance 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 Black Bananas. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Monks,
The Motions,
Bang On A Can,
The Searchers,
Michelle Simonal,
The Golliwogs,
Lightning Bolt,
The Dead C,
Alison Limerick,
Mantronix,
Minutemen,
Bush Tetras,
Newcleus,
Youth Brigade,
Pussy Galore,
Second Layer,
Deepchord,
The Men They Couldn't Hang,
Bob Dylan,
Gichy Dan,
Zero Boys,
Kango’s Stein Massive,
Stockholm Monsters,
X-101,
Selector Dub Narcotic,
The United States of America,
Cymande,
Electric Light Orchestra,
Robert Wyatt,
Stereo Dub,
Brothers Johnson,
Pharaoh Sanders and the Fire Engines,
Fluxion,
Ultravox,
Masters at Work,
Lee Hazlewood,
Bauhaus,
Harpers Bizarre,
Fad Gadget,
Sister Nancy,
Young Marble Giants,
Eyeless In Gaza,
The Red Krayola,
The Monochrome Set,
Mr. Review,
Peter & Gordon,
Supertramp,
The Knickerbockers,
Kauko Röyhkä ja Narttu,
Roy Ayers Ubiquity,
Roxy Music,
The Chocolate Watch Band,
Crispian St. Peters,
Ultramagnetic MC's,
Babytalk,
Mars,
Ronan,
Aural Exciters,
Ohio Players,
Kings Of Tomorrow,
Pierre Henry,
Ponytail,
DeepChord presents Echospace,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.