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 Liberia and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Lyon and Lille.
I'm losing my edge to the art-school Jakarta 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 güiro sounds with much patience.
I was there when David Bowie 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 Tomorrow to the punk kids.
I played it at the Astoria.
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 Barbara Tucker. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Avey Tare 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Iggy Pop,
Spoonie Gee,
Soulsonic Force,
Byron Stingily,
The Fire Engines,
Johnny Osbourne,
The Velvet Underground,
Lucky Dragons,
Crispy Ambulance,
Piero Umiliani,
H. Thieme,
DJ Style,
Gary Puckett & The Union Gap,
Intrusion,
Mars,
U.S. Maple,
Amazonics,
The Men They Couldn't Hang,
Tropical Tobacco,
The New Christs,
Kas Product,
Altered Images,
Bluetip,
Ohio Players,
The Busters,
Saccharine Trust,
Suburban Knight,
Avey Tare & Kría Brekkan,
Rufus Thomas,
Jeff Mills,
Larry & the Blue Notes,
DNA,
Tommy Roe,
Minny Pops,
Bizarre Inc.,
Make Up,
Glambeats Corp.,
Rosa Yemen,
Drexciya,
Sun Ra,
Fluxion,
Anthony Braxton,
Jimmy McGriff,
Liliput,
Bang on a Can All-Stars,
Ossler,
Young Marble Giants,
Pere Ubu,
One Last Wish,
The Sonics,
Tears for Fears,
Matthew Bourne,
Ultravox,
Albert Ayler,
Lungfish,
Sparks,
Stereo Dub,
The Move,
Scientists,
Tres Demented,
Popol Vuh,
The Zeros,
Urselle, Urselle, Urselle, Urselle.
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.