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 Slovenia and from Sao Paulo.
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 1970.
I'm losing my edge.
To all the kids in Cairo and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 The Fugs to the disco kids.
I played it at the Spitz.
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 Reuben Wilson. All the underground hits.
All Suicide tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Sun Ra,
Pussy Galore,
Neu!,
Agitation Free,
ABC,
The Fuzztones,
Liaisons Dangereuses,
X-101,
Cluster,
Girls At Our Best!,
The Gladiators,
Heaven 17,
Scott Walker,
Wighnomy Brothers & Robag Wruhme,
Idris Muhammad,
Newcleus,
Supertramp,
Cecil Taylor,
Ronan,
Loose Ends,
Throbbing Gristle,
The Sonics,
The Searchers,
Smog,
Television,
Albert Ayler,
Cameo,
John Cale,
Kerrie Biddell,
Monolake,
the Soft Cell,
Basic Channel,
June Days,
Electric Light Orchestra,
Teenage Jesus and the Jerks,
Sound Behaviour,
Sixth Finger,
Maurizio,
Selector Dub Narcotic,
8 Eyed Spy,
Vainqueur,
Kerri Chandler,
Bad Manners,
Sugar Minott,
Jacob Miller,
Ultra Naté,
Gil Scott-Heron and Jamie xx,
A Flock of Seagulls,
Surgeon,
Fifty Foot Hose,
Crash Course in Science,
Pulsallama,
Deutsch Amerikanische Freundschaft,
The Five Americans,
Moebius,
Chris Corsano,
Jesper Dahlback,
Gil Scott Heron,
Louis and Bebe Barron,
Japan,
PIL, PIL, PIL, PIL.
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.