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 St Kitts & Nevis and from Copenhagen.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Paris 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 spring reverb 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 Eden Ahbez to the rock 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 Kenny Larkin. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Davy DMX 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Anthony Braxton,
Bill Near,
Jandek,
The Fortunes,
Faraquet,
Gil Scott-Heron and Jamie xx,
Kenny Larkin,
Dorothy Ashby,
The Searchers,
The Mighty Diamonds,
New York Dolls,
The Mojo Men,
Flash Fearless,
Kool G Rap & DJ Polo,
Cybotron,
Gong,
Camouflage,
The Monochrome Set,
Ohio Players,
Barclay James Harvest,
Rites of Spring,
Avey Tare & Kría Brekkan,
Fort Wilson Riot,
Lou Reed,
Sun Ra Arkestra,
Nils Olav,
Hashim,
Toni Rubio,
Cluster,
Lalann,
The Techniques,
John Coltrane,
Pole,
Bronski Beat,
Byron Stingily,
Y Pants,
Nation of Ulysses,
Don Cherry,
The Buckinghams,
Kool Moe Dee,
Main Source,
Sparks,
Bootsy Collins,
The Slits,
Royal Trux,
Monolake,
Ponytail,
Max Romeo,
48th St. Collective,
B.T. Express,
Marvin Gaye,
Flamin' Groovies,
Public Image Ltd.,
Gabor Szabo,
The Associates,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.