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 Swaziland and from Lille.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Paris and Lyon.
I'm losing my edge to the art-school Halifax 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 Holger Czukay 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 Techniques to the techno 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 AZ. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
Lower 48,
DNA,
Hasil Adkins,
Don Cherry,
R.M.O.,
Rufus Thomas,
Basic Channel,
Robert Görl,
Alison Limerick,
Soulsonic Force,
Altered Images,
Funkadelic,
John Cale,
The Monochrome Set,
Warren Ellis,
David Axelrod,
Sunsets and Hearts,
Bauhaus,
Louis and Bebe Barron,
These Immortal Souls,
The Sonics,
Monolake,
Wasted Youth,
The Beau Brummels,
Godley & Creme,
Skaos,
Moby Grape,
DJ Sneak,
Interpol,
Jesper Dahlbäck,
The Buckinghams,
Angels of Light & Akron/Family,
Jacques Brel,
Carl Craig,
Amon Düül,
Oneida,
Stetsasonic,
June Days,
Kango’s Stein Massive,
Lalann,
Gastr Del Sol,
Erykah Badu,
John Lydon,
Suburban Knight,
Neu!,
The Blues Magoos,
Second Layer,
Magma,
Juan Atkins,
Massinfluence,
The Red Krayola,
Neil Young & Crazy Horse,
The Barracudas,
The Cowsills,
Sam Rivers,
Isaac Hayes,
Jeff Mills,
Kerrie Biddell,
Larry & the Blue Notes,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.