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 Singapore and from Stockholm.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Gang Green to the dance 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 The Barracudas. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Colin Newman,
Joe Smooth,
Severed Heads,
Robert Hood,
Sun Ra,
Spandau Ballet,
Josef K,
X-101,
Malaria!,
The Modern Lovers,
Qualms,
Major Organ And The Adding Machine,
Soft Machine,
The Dirtbombs,
Fad Gadget,
Crispian St. Peters,
The Busters,
Hashim,
Lebanon Hanover,
Crooked Eye,
Glambeats Corp.,
The Martian,
Theoretical Girls,
Infiniti,
Ohio Players,
The Moleskins,
The Associates,
Mantronix,
Jacob Miller,
The Barracudas,
Royal Trux,
Section 25,
Darondo,
the Germs,
Pet Shop Boys,
Blossom Toes,
The Alarm Clocks,
Sexual Harrassment,
Gabor Szabo,
A Certain Ratio,
Main Source,
Cecil Taylor,
Animal Collective,
Pylon,
The Doobie Brothers,
CMW,
The Music Machine,
Goldenarms,
DNA,
Barrington Levy,
Bob Dylan,
Erykah Badu,
The West Coast Pop Art Experimental Band,
Neil Young & Crazy Horse,
The Five Americans,
Justin Hinds & The Dominoes,
Erasure,
Con Funk Shun,
Minnie Riperton,
The Cramps,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.