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 Kazakhstan and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Salvador 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the marimba 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 Michelle Simonal 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 Morten Harket. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Ajijia Myrayebe 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 '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Gabor Szabo,
Sparks,
Scott Walker,
Soft Cell,
Thinking Fellers Union Local 282,
The Fuzztones,
Q and Not U,
Jeff Lynne,
Camron Feat. Memphis Bleek And Beenie Seigel,
ABBA,
The Modern Lovers,
Surgeon,
Hot Snakes,
UT,
Ossler,
Crime,
The New Christs,
Mission of Burma,
Alison Limerick,
Roy Ayers,
The Move,
The Cowsills,
Sex Pistols,
Franke,
Idris Muhammad,
The Peanut Butter Conspiracy,
The Golliwogs,
Letta Mbulu,
T.S.O.L.,
The Electric Prunes,
Cymande,
Mandrill,
Henry Cow,
Peter Gordon & Love of Life Orchestra,
the Bar-Kays,
Gil Scott-Heron and Jamie xx,
Cabaret Voltaire,
Kerrie Biddell,
Matthew Halsall,
Jesper Dahlbäck,
Lalo Schifrin,
Girls At Our Best!,
Susan Cadogan,
Grey Daturas,
Roxy Music,
Brothers Johnson,
Röyhkä ja Rättö ja Lehtisalo,
Kool G Rap & DJ Polo,
Sällskapet,
The Star Department,
Arcadia,
Trumans Water,
Electric Prunes,
Arthur Verocai,
James White and The Blacks,
Deutsch Amerikanische Freundschaft,
Freddie Wadling,
Sad Lovers and Giants,
Josef K,
Can,
Jawbox,
Lonnie Liston Smith,
Monks, Monks, Monks, Monks.
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.