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 Israel and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Hong Kong 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 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 R.M.O. to the grime 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 Bill Near. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Fort Wilson Riot,
Moebius,
Kurtis Blow,
Kaleidoscope,
Barclay James Harvest,
Cameo,
Arcadia,
The Index,
The Shadows of Knight,
Frankie Knuckles,
Whodini,
Swans,
Gian Franco Pienzio,
Steve Hackett,
Major Organ And The Adding Machine,
Harpers Bizarre,
Kool G Rap & DJ Polo,
Shoche,
Funky Four + One,
Rhythim Is Rhythim,
Scott Walker,
This Heat,
Sam Rivers,
The Kinks,
Monks,
Soft Cell,
Skarface,
The Five Americans,
The Monochrome Set,
Henry Cow,
Albert Ayler,
Heavy D & The Boyz,
Thompson Twins,
Hot Snakes,
CMW,
Motorama,
Byron Stingily,
Laurel Aitken,
Mark Hollis,
Loose Ends,
Joy Division,
Mad Mike,
Ronnie Foster,
The Angels of Light,
Minnie Riperton,
U.S. Maple,
Fugazi,
Leonard Cohen,
D'Angelo,
the Soft Cell,
Eddi Front,
The Victims,
New Age Steppers,
Kauko Röyhkä ja Narttu,
The Martian,
The Associates,
Drexciya,
Kerri Chandler,
Tres Demented,
Rekid,
Orchestral Manoeuvres in the Dark,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.