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 Guinea-Bissau and from Manila.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Manchester and Shanghai.
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 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 Robert Palmer 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 Barclay James Harvest to the punk kids.
I played it at the Troubador.
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 Joy Division. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every The Evens 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Idris Muhammad,
Wire,
Roxy Music,
Groovy Waters,
Kool Moe Dee,
The Mighty Diamonds,
Rhythim Is Rhythim,
Blancmange,
Delta 5,
Ajijia Myrayebe,
Lalann,
The Kinks,
Joe Smooth,
Barrington Levy,
Bad Manners,
T. Rex,
Darondo,
Johnny Osbourne,
Faraquet,
Lizzy Mercier Descloux,
Dr. Dre and Snoop Doggy Dog,
Q and Not U,
James White and The Blacks,
Fifty Foot Hose,
Spoonie Gee,
ABBA,
Eric Dolphy,
Agent Orange,
Sly & The Family Stone,
Lyres,
The Dead C,
The Wake,
The Last Poets,
Albert Ayler,
Andrew Hill,
Lucky Dragons,
Liaisons Dangereuses,
The Zeros,
Symarip,
The Divine Comedy,
Iggy Pop,
Fela Kuti,
Rahsaan Roland Kirk,
Altered Images,
Suicide,
The Raincoats,
Basic Channel,
Gregory Isaacs,
Hoover,
June Days,
Lalo Schifrin,
Visage,
The Sonics,
The Grass Roots,
Soulsonic Force,
Hot Snakes,
The Index,
Quando Quango,
Mr. Review,
Glenn Branca,
Cluster, Cluster, Cluster, Cluster.
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.