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 Nigeria and from Beijing.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet 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 Mark Hollis to the grunge kids.
I played it at the 40 Watt.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Michelle Simonal 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Steve Hackett,
Camberwell Now,
Lizzy Mercier Descloux,
Alice Coltrane,
Don Cherry,
Sexual Harrassment,
Peter Gordon & Love of Life Orchestra,
Peter & Gordon,
Funkadelic,
Letta Mbulu,
Neil Young,
The Gun Club,
K-Klass,
Flamin' Groovies,
R.M.O.,
Lightning Bolt,
Cameo,
Gil Scott Heron,
The Selecter,
Ossler,
Jawbox,
Hoover,
AZ,
Public Image Ltd.,
Model 500,
The Happenings,
Blancmange,
Nick Fraelich,
Amazonics,
Eddi Front,
The Cramps,
Justin Hinds & The Dominoes,
Parry Music,
The Birthday Party,
Bootsy Collins,
One Last Wish,
Graham Central Station,
Jesper Dahlback,
Electric Light Orchestra,
June Days,
Faust,
Los Fastidios,
Electric Prunes,
Arthur Verocai,
Surgeon,
London Community Gospel Choir,
The Cowsills,
Soul II Soul,
Selector Dub Narcotic,
Gerry Rafferty,
Nico,
The Red Krayola,
Can,
Deadbeat,
Sister Nancy,
Alison Limerick,
Lower 48,
Sixth Finger,
Bizarre Inc.,
Ronnie Foster,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.