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 Bolivia and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Halifax.
I'm losing my edge to the art-school Calgary 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 sitar 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 Matthew Bourne to the disco kids.
I played it at the Astoria.
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 Banda Bassotti. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Hasil Adkins 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
The Sonics,
The Mummies,
Orchestral Manoeuvres in the Dark,
Youth Brigade,
Louis and Bebe Barron,
Q65,
Brand Nubian,
Second Layer,
Oppenheimer Analysis,
The Smiths,
Rufus Thomas,
Bobby Womack,
PIL,
Ronan,
The Durutti Column,
Pete Rock & C.L. Smooth,
Liaisons Dangereuses,
Byron Stingily,
The Dirtbombs,
Camberwell Now,
These Immortal Souls,
kango's stein massive,
Subhumans,
Judy Mowatt,
Gregory Isaacs,
Animal Collective,
the Soft Cell,
Morten Harket,
Avey Tare & Kría Brekkan,
The Seeds,
The Count Five,
CMW,
Erasure,
Saccharine Trust,
The Index,
Surgeon,
Iggy Pop,
The Divine Comedy,
Bootsy's Rubber Band,
Outsiders,
Grandmaster Flash and the Furious Five,
Kerri Chandler,
Joe Finger,
Amon Düül II,
Brass Construction,
June Days,
Soft Machine,
Traffic Nightmare,
Scott Walker + Sunn O))),
Tres Demented,
Barrington Levy,
Andrew Ashong & Theo Parrish,
the Slits,
Ornette Coleman,
The Chocolate Watch Band,
Fat Boys,
Graham Central Station,
Todd Rundgren,
Aural Exciters,
This Heat, This Heat, This Heat, This Heat.
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.