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 Seychelles and from Salvador.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lille and Houston.
I'm losing my edge to the art-school Lagos 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 sitar sounds with much patience.
I was there when Lou Reed 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 Deakin 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 Liaisons Dangereuses. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every The Motions 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Ralphi Rosario,
Moby Grape,
Röyhkä ja Rättö ja Lehtisalo,
Absolute Body Control,
the Human League,
Magma,
Laurel Aitken,
The Buckinghams,
the Swans,
Mark Hollis,
Underground Resistance,
Lightning Bolt,
Robert Hood,
D'Angelo,
Bluetip,
The Cosmic Jokers,
Depeche Mode,
Gong,
Nils Olav,
Nirvana,
Joe Finger,
Vladislav Delay,
Bob Dylan,
The Real Kids,
Warren Ellis,
The Fugs,
Ronnie Foster,
Larry & the Blue Notes,
The Motions,
Interpol,
Shuggie Otis,
The Fall,
June Days,
Jacques Brel,
Tubeway Army,
Sandy B,
the Fania All-Stars,
Gabor Szabo,
Curtis Mayfield,
Malaria!,
Gang Gang Dance,
R.M.O.,
Pantytec,
Jerry's Kids,
Marine Girls,
Robert Görl,
Anthony Braxton,
The Mojo Men,
Minutemen,
Crispian St. Peters,
The West Coast Pop Art Experimental Band,
T.S.O.L.,
Franke,
The Velvet Underground,
Khruangbin,
David Axelrod,
Wolf Eyes,
Big Daddy Kane,
Shoche,
Quando Quango,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.