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 Shanghai.
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 1973.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Glasgow 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 Selda practice in a loft in Istanbul.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Pylon to the grime kids.
I played it at the Hacienda.
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 Minny Pops. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Country Teasers record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your güiro and bought a guitar.
I hear that you and your band have sold your guitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Deutsch Amerikanische Freundschaft,
Letta Mbulu,
Ludus,
Maleditus Sound,
U.S. Maple,
a-ha,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Q65,
Excepter,
Fugazi,
Ronnie Foster,
Pere Ubu,
Bob Dylan,
Teenage Jesus and the Jerks,
The Real Kids,
Mr. Review,
Black Pus,
Average White Band,
Godley & Creme,
Art Ensemble Of Chicago,
Siouxsie and the Banshees,
Eric Dolphy,
Bill Wells,
Suburban Knight,
Don Cherry,
Ice-T,
Warsaw,
Pulsallama,
the Swans,
Au Pairs,
Hasil Adkins,
Cal Tjader,
Tres Demented,
Nirvana,
Mo-Dettes,
X-102,
Lakeside,
Isaac Hayes,
Make Up,
Joensuu 1685,
The Stooges,
Scion,
David McCallum,
Franke,
Sound Behaviour,
Kerri Chandler,
Grey Daturas,
Jacob Miller,
Patti Smith,
Gong,
The Fugs,
Lindisfarne,
Lyres,
Laurel Aitken,
Avey Tare & Kría Brekkan,
Matthew Bourne,
Panda Bear,
X-Ray Spex,
The Mighty Diamonds,
The Shadows of Knight,
Flamin' Groovies,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.