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 Lebanon and from Philadelphia.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Seoul and Seoul.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator 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 The Mojo Men to the funk 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 Max Romeo. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Index,
Black Moon,
The Raincoats,
Bill Near,
Ash Ra Tempel,
Liaisons Dangereuses,
Country Teasers,
Blake Baxter,
Ten City,
Whodini,
Roy Ayers Ubiquity,
Young Marble Giants,
The Standells,
Marmalade,
ABBA,
Wire,
Carl Craig,
Sticky Fingaz feat. Raekwon,
Public Image Ltd.,
The Shadows of Knight,
EPMD,
Lungfish,
Kings Of Tomorrow,
Lizzy Mercier Descloux,
Dead Boys,
Echo & the Bunnymen,
The Men They Couldn't Hang,
Sarah Menescal,
Grandmaster Flash,
Lalo Schifrin,
Deutsch Amerikanische Freundschaft,
The Techniques,
Scott Walker,
The Real Kids,
Yusef Lateef,
The Vogues,
Rosa Yemen,
X-Ray Spex,
Joy Division,
Soul II Soul,
Erasure,
Sound Behaviour,
Pylon,
Henry Cow,
Barclay James Harvest,
The Tremeloes,
Pantaleimon,
The Dirtbombs,
Roger Hodgson,
Unrelated Segments,
The Seeds,
Vaughan Mason & Crew,
Pharaoh Sanders and the Fire Engines,
Moby Grape,
Faust,
The Doobie Brothers,
Deadbeat,
The Sound,
Black Flag,
Angry Samoans,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
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.