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 Qatar and from Bremen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Lagos and Cairo.
I'm losing my edge to the art-school Edmonton 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 T. Rex to the grunge 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 Sparks. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Connie Case 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
The Leaves,
Nas,
Howard Jones,
Yazoo,
Laurel Aitken,
Nils Olav,
Basic Channel,
The Music Machine,
Drexciya,
Accadde A,
Mary Jane Girls,
Arthur Verocai,
Max Romeo,
Gong,
Barry Ungar,
Nick Cave & The Bad Seeds,
The Gun Club,
Zapp,
Crash Course in Science,
Rahsaan Roland Kirk,
Pantaleimon,
Davy DMX,
F. McDonald,
Nation of Ulysses,
Monks,
Boz Scaggs,
Jerry Gold Smith,
Soft Cell,
Idris Muhammad,
David Axelrod,
Boogie Down Productions,
Ultra Naté,
Lightning Bolt,
Joensuu 1685,
The Doobie Brothers,
CMW,
Make Up,
Major Organ And The Adding Machine,
London Community Gospel Choir,
Jacob Miller,
John Holt,
Qualms,
New York Dolls,
Gil Scott-Heron & Brian Jackson,
Dorothy Ashby,
Harmonia,
Das Ding,
the Germs,
Grandmaster Flash and the Furious Five,
Archie Shepp,
The Index,
Donald Byrd,
Robert Wyatt,
The Sisters of Mercy,
The Gap Band,
Janne Schatter,
Joyce Sims,
Index,
Patti Smith,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.