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 United Kingdom and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lagos and Winnipeg.
I'm losing my edge to the art-school Paris 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Tom Boy to the rock kids.
I played it at the Spitz.
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 The Fuzztones. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every F. McDonald 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Sound Behaviour,
Joe Smooth,
Major Organ And The Adding Machine,
Bobby Womack,
Rahsaan Roland Kirk,
Girls At Our Best!,
The Sonics,
the Swans,
The Last Poets,
The Five Americans,
The West Coast Pop Art Experimental Band,
Gil Scott Heron,
Black Moon,
Fugazi,
The Electric Prunes,
Gabor Szabo,
Tears for Fears,
Echospace,
Excepter,
The Index,
The Grass Roots,
Nirvana,
Chris & Cosey,
The Beau Brummels,
Thee Headcoats,
The J.B.'s,
Nas,
Gregory Isaacs,
Cameo,
Mo-Dettes,
The Flesh Eaters,
Sandy B,
Glenn Branca,
Severed Heads,
Subhumans,
U.S. Maple,
Stereo Dub,
Camberwell Now,
Rufus Thomas,
Cheater Slicks,
Jesper Dahlback,
Mr. Review,
The Gun Club,
Matthew Halsall,
Black Flag,
Magma,
Neu!,
Siglo XX,
A Flock of Seagulls,
Terrestrial Tones,
Sunsets and Hearts,
Absolute Body Control,
Soft Machine,
Fort Wilson Riot,
Gil Scott-Heron & Brian Jackson,
Leonard Cohen,
Joensuu 1685,
Freddie Wadling,
Lee Hazlewood,
Eric Dolphy,
Sad Lovers and Giants,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.