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 Equatorial Guinea and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Bremen and Paris.
I'm losing my edge to the art-school Shanghai 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Jesper Dahlback to the rock kids.
I played it at the Hacienda.
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 Sly & The Family Stone. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Black Pus 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Agent Orange,
Lightning Bolt,
Yusef Lateef,
Chrome,
Colin Newman,
Simply Red,
Scott Walker,
Zapp,
The Doobie Brothers,
Anakelly,
Goldenarms,
Rufus Thomas,
David Axelrod,
DJ Style,
Skriet,
The Mighty Diamonds,
The Slits,
Make Up,
Animal Collective,
The Star Department,
The Dead C,
Hardrive,
Lizzy Mercier Descloux,
The Modern Lovers,
Nils Olav,
Derrick Morgan,
Lucky Dragons,
Leonard Cohen,
Beasts of Bourbon,
Eddi Front,
Fear,
World's Most,
Max Romeo,
Pete Rock & C.L. Smooth,
Pharaoh Sanders and the Fire Engines,
Andrew Ashong & Theo Parrish,
Warren Ellis,
John Cale,
Pere Ubu,
Amazonics,
Neu!,
The Smoke,
Angels of Light & Akron/Family,
Nick Cave & The Bad Seeds,
Lakeside,
Marine Girls,
Traffic Nightmare,
Reuben Wilson,
Intrusion,
Roger Hodgson,
Ultramagnetic MC's,
Ronan,
Whodini,
Joy Division,
Jerry Gold Smith,
K-Klass,
Rowland S Howard / Lydia Lunch,
Ken Boothe,
Lyres,
Bang on a Can All-Stars,
Blossom Toes,
Gary Puckett & The Union Gap,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.