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 Ecuador and from Mumbai.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Taipei 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 Sight & Sound to the grunge kids.
I played it at the Roxy.
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 Leonard Cohen. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Moebius,
Teenage Jesus and the Jerks,
Ash Ra Tempel,
Throbbing Gristle,
Neil Young,
Crooked Eye,
Lou Reed & Metallica,
Rahsaan Roland Kirk,
Man Parrish,
Lee Hazlewood,
Chris & Cosey,
Soulsonic Force,
De La Soul & Jungle Brothers,
A Certain Ratio,
Faust,
Jandek,
Aural Exciters,
ABBA,
Gichy Dan,
Skarface,
Grandmaster Flash and the Furious Five,
the Bar-Kays,
Khruangbin,
The Cowsills,
Big Daddy Kane,
Pharaoh Sanders and the Fire Engines,
The Last Poets,
The Smoke,
Metal Thangz,
Scrapy,
The Fall,
New York Dolls,
Junior Murvin,
Oneida,
DNA,
Massinfluence,
Alison Limerick,
Deepchord,
Wighnomy Brothers & Robag Wruhme,
The Blues Magoos,
Vaughan Mason & Crew,
Scott Walker,
Slave,
The Dirtbombs,
Magma,
Hot Snakes,
Donny Hathaway,
Isaac Hayes,
Reagan Youth,
Siglo XX,
Aaron Thompson,
Newcleus,
The Beau Brummels,
Saccharine Trust,
Groovy Waters,
Little Man,
Nation of Ulysses,
The Peanut Butter Conspiracy,
Moby Grape,
Con Funk Shun,
Marmalade,
Kings Of Tomorrow,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.