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 Morocco and from Portland.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Spokane 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Joe Smooth to the grime kids.
I played it at the Troubador.
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 Rotary Connection. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Neil Young & Crazy Horse 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 '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Derrick May,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Selecter,
Tom Boy,
Lyres,
Alice Coltrane,
Tears for Fears,
DNA,
Buzzcocks,
Carl Craig,
The Dirtbombs,
It's A Beautiful Day,
Fifty Foot Hose,
Crime,
Sunsets and Hearts,
Connie Case,
Barbara Tucker,
the Normal,
Sister Nancy,
Laurel Aitken,
X-102,
Junior Murvin,
Richard Hell and the Voidoids,
Young Marble Giants,
Nation of Ulysses,
Louis and Bebe Barron,
Urselle,
K-Klass,
JFA,
Minny Pops,
Infiniti,
FM Einheit,
Youth Brigade,
Marmalade,
Mo-Dettes,
Loose Ends,
The Vogues,
Faraquet,
Quando Quango,
Sun City Girls,
Animal Collective,
Major Organ And The Adding Machine,
Cheater Slicks,
Siglo XX,
Jandek,
Iggy Pop,
Nico,
Essential Logic,
Bad Manners,
Rites of Spring,
Boogie Down Productions,
Cecil Taylor,
Kool G Rap & DJ Polo,
Gong,
Derrick Morgan,
Second Layer,
Sällskapet,
The Red Krayola,
Eric Dolphy,
Cluster,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.