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 Senegal and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Beijing.
I'm losing my edge to the art-school Shanghai 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Pere Ubu to the funk 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 Toni Rubio. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Cymande,
a-ha,
Lightning Bolt,
Steve Hackett,
Dorothy Ashby,
Eric Dolphy,
the Association,
The Moody Blues,
Sex Pistols,
Groovy Waters,
Joe Smooth,
Banda Bassotti,
LL Cool J,
Radio Birdman,
Ludus,
the Fania All-Stars,
Pere Ubu,
The Cure,
The Smiths,
Dark Day,
The Tremeloes,
Scrapy,
Intrusion,
Quadrant,
Janne Schatter,
Kurtis Blow,
Man Parrish,
Crime,
Aaron Thompson,
Maleditus Sound,
Bobby Womack,
The Move,
The Dave Clark Five,
The Dead C,
Gabor Szabo,
Marc Romboy vs. Booka Shade,
Dead Boys,
Sound Behaviour,
Hot Snakes,
Letta Mbulu,
Soulsonic Force,
Jerry's Kids,
Cluster,
Bush Tetras,
Blossom Toes,
cv313,
Saccharine Trust,
The West Coast Pop Art Experimental Band,
Underground Resistance,
Neil Young & Crazy Horse,
Freddie Wadling,
Barclay James Harvest,
X-Ray Spex,
Lungfish,
London Community Gospel Choir,
The Sound,
Neil Young, Neil Young, Neil Young, Neil Young.
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.