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 Rwanda and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Calgary 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Lou Reed to the crunk 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 Sam Rivers. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every Ultra Naté 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Roy Ayers Ubiquity,
Drexciya,
Nas,
the Soft Cell,
Little Man,
Moebius,
Bronski Beat,
L. Decosne,
Eli Mardock,
F. McDonald,
The Raincoats,
Vaughan Mason & Crew,
Kerri Chandler,
Bobby Sherman,
Cecil Taylor,
Audionom,
Matthew Bourne,
Liaisons Dangereuses,
Sly & The Family Stone,
Pere Ubu,
FM Einheit,
Vainqueur,
Supertramp,
Pharaoh Sanders and the Fire Engines,
Flash Fearless,
Cybotron,
Negative Approach,
Yellowson,
Lafayette Afro Rock Band,
Scientists,
Neil Young,
Gichy Dan,
Zero Boys,
Maurizio,
Alton Ellis,
The Slackers,
The Human League,
Soft Machine,
Eve St. Jones,
Q65,
Jacques Brel,
X-101,
The Velvet Underground,
Maleditus Sound,
This Heat,
Pylon,
Blake Baxter,
Erykah Badu,
Alphaville,
Mary Jane Girls,
Magma,
Accadde A,
Minnie Riperton,
Leonard Cohen,
The Techniques,
Eurythmics,
Kerrie Biddell,
The Smoke,
Joensuu 1685,
Moss Icon,
Sällskapet,
The J.B.'s,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.