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 Djibouti and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school New York 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 organ 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 Qualms to the electroclash kids.
I played it at the 40 Watt.
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 Danielle Patucci. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Roxy Music,
Bobby Hutcherson,
The Selecter,
Tropical Tobacco,
Lee Hazlewood,
Lindisfarne,
Arthur Verocai,
The New Christs,
The Cowsills,
Stetsasonic,
cv313,
F. McDonald,
Essential Logic,
Thompson Twins,
Alton Ellis,
the Fania All-Stars,
UT,
Guru Guru,
Crash Course in Science,
Neil Young,
The Pretty Things,
Sad Lovers and Giants,
Robert Görl,
The Fugs,
The Angels of Light,
The Slits,
Drive Like Jehu,
Urselle,
Black Bananas,
Godley & Creme,
Slick Rick,
Khruangbin,
Tommy Roe,
Los Fastidios,
Gerry Rafferty,
Boz Scaggs,
It's A Beautiful Day,
Kango’s Stein Massive,
Joe Finger,
Buzzcocks,
Man Eating Sloth,
Tomorrow,
Red Lorry Yellow Lorry,
Magma,
Agitation Free,
The Zeros,
Goldenarms,
Piero Umiliani,
The Human League,
Pylon,
Hot Snakes,
Swell Maps,
the Swans,
The Monks,
Wings,
Lower 48,
The Barracudas,
Marine Girls,
London Community Gospel Choir,
Procol Harum,
Talk Talk,
Kenny Larkin,
Lyres,
Sixth Finger, Sixth Finger, Sixth Finger, Sixth Finger.
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.