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 Taiwan and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
I'm losing my edge to the art-school Bremen 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum 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 Rufus Thomas to the jazz 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 The Wake. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Ultimate Spinach 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Loose Ends,
The Raincoats,
Strawberry Alarm Clock,
The Kinks,
Au Pairs,
Flash Fearless,
Judy Mowatt,
Liaisons Dangereuses,
Robert Wyatt,
It's A Beautiful Day,
Moebius,
Ultravox,
Grandmaster Flash and the Furious Five,
Rites of Spring,
Henry Cow,
Scratch Acid,
Dawn Penn,
Quando Quango,
Tim Buckley,
Super Lover Cee & Casanova Rud,
Jacob Miller,
Alton Ellis,
The Music Machine,
Bush Tetras,
Bad Manners,
Average White Band,
New Order,
The Moleskins,
The Red Krayola,
The Saints,
Ash Ra Tempel,
Marvin Gaye,
Siouxsie and the Banshees,
Skriet,
The Index,
Roxette,
Pagans,
Organ,
The Dead C,
Fela Kuti,
Boogie Down Productions,
Gil Scott-Heron & Brian Jackson,
The Martian,
Kas Product,
Popol Vuh,
Jeru the Damaja,
Public Enemy,
Nik Kershaw,
Ten City,
Derrick May,
Fort Wilson Riot,
Lindisfarne,
The American Breed,
the Swans,
Sarah Menescal,
Cluster,
Letta Mbulu,
The Busters,
Electric Prunes,
Nico,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.