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 Suriname and from London.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Calgary and Glasgow.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Amon Düül II to the disco kids.
I played it at CBGB's.
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 Deakin. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Barrington Levy 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Chris Corsano record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Mars,
Bang on a Can All-Stars,
Beasts of Bourbon,
Boogie Down Productions,
The Jesus and Mary Chain,
Danielle Patucci,
Andrew Hill,
Warren Ellis,
Scientists,
The Fortunes,
Deepchord,
Donny Hathaway,
Cymande,
Lakeside,
The Residents,
Eli Mardock,
Deutsch Amerikanische Freundschaft,
Ornette Coleman,
Black Flag,
Justin Hinds & The Dominoes,
Bootsy Collins,
Sad Lovers and Giants,
Nirvana,
Dr. Dre and Snoop Doggy Dog,
The Move,
Howard Jones,
the Swans,
Loose Ends,
Organ,
Nick Fraelich,
The Misunderstood,
The Count Five,
Brick,
Minnie Riperton,
Pantaleimon,
Slave,
Tears for Fears,
Unrelated Segments,
Jesper Dahlback,
Electric Prunes,
The Evens,
Eve St. Jones,
Josef K,
Brothers Johnson,
Fela Kuti,
Iggy Pop,
Saccharine Trust,
D'Angelo,
Big Daddy Kane,
Erykah Badu,
Agent Orange,
Hardrive,
Dawn Penn,
David Axelrod,
Oppenheimer Analysis,
Icehouse,
New Age Steppers,
Echospace,
Rakim,
The Beau Brummels,
Von Mondo,
Sandy B,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.