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 Dominican Republic and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1979.
I'm losing my edge.
To all the kids in New York and Lille.
I'm losing my edge to the art-school Manila 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 mellotron 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 Anthony Braxton to the jazz kids.
I played it at the 40 Watt.
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 10cc. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Echo & the Bunnymen 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
CMW,
The Fall,
Circle Jerks,
Sly & The Family Stone,
Talk Talk,
Quadrant,
Suicide,
Richard Hell and the Voidoids,
Deadbeat,
Tommy Roe,
The Black Dice,
Alison Limerick,
Throbbing Gristle,
Bang on a Can All-Stars,
The Evens,
Electric Light Orchestra,
Ajijia Myrayebe,
The Motions,
Negative Approach,
The Star Department,
Barrington Levy,
Juan Atkins,
Pulsallama,
Todd Rundgren,
The Chocolate Watch Band,
Cabaret Voltaire,
Prince Buster,
Whodini,
Essential Logic,
The American Breed,
Guru Guru,
Donald Byrd,
Drexciya,
Section 25,
Eddi Front,
Jesper Dahlback,
Pantytec,
Rowland S Howard / Lydia Lunch,
Masters at Work,
Cluster,
H. Thieme,
Fluxion,
Metal Thangz,
Kerrie Biddell,
Matthew Bourne,
Moby Grape,
Gian Franco Pienzio,
Sex Pistols,
Yaz,
Blossom Toes,
Nation of Ulysses,
Anthony Braxton,
X-101,
De La Soul & Jungle Brothers,
Stetsasonic,
Roxy Music,
Mars,
Kayak,
Monolake,
Little Man,
Ludus,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.