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 Iran 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 1964 to 1973.
I'm losing my edge.
To all the kids in Halifax and Portland.
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 chamberlin 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 Marcia Griffiths to the disco kids.
I played it at the Crocodile.
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 Evens. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Suburban Knight 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Swans,
Rhythim Is Rhythim,
Animal Collective,
The Doobie Brothers,
The Peanut Butter Conspiracy,
Blake Baxter,
Sound Behaviour,
A Flock of Seagulls,
Dorothy Ashby,
The Victims,
The United States of America,
The Searchers,
Circle Jerks,
James Chance & The Contortions,
Lower 48,
Surgeon,
Lou Reed & Metallica,
Cymande,
Bill Near,
David McCallum,
The Residents,
the Human League,
Audionom,
Nils Olav,
Neil Young,
Schoolly D,
Angels of Light & Akron/Family,
Public Enemy,
Procol Harum,
Joey Negro,
Parry Music,
Television Personalities,
Deakin,
Neu!,
Bang on a Can All-Stars,
New Age Steppers,
Hashim,
Deepchord,
Trumans Water,
Amon Düül II,
Big Daddy Kane,
Lindisfarne,
Jandek,
Sly & The Family Stone,
Gastr Del Sol,
Quantec,
B.T. Express,
The Fire Engines,
Lebanon Hanover,
Dennis Brown,
Glenn Branca,
The Evens,
Masters at Work,
Kerrie Biddell,
AZ,
Leonard Cohen,
Groovy Waters,
Camron Feat. Jay Z And Juelz,
The Buckinghams,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.