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 Slovakia and from London.
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 1978.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
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 Bowie practice in a loft in Bromley.
I was working on the clarinet 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 Siouxsie and the Banshees to the disco kids.
I played it at CBGB's.
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 Divine Comedy. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
David Axelrod,
Deutsch Amerikanische Freundschaft,
Sarah Menescal,
Barry Ungar,
Desert Stars,
The Searchers,
David McCallum,
Cal Tjader,
Kool G Rap & DJ Polo,
The Mummies,
The Fuzztones,
Connie Case,
The Skatalites,
The Move,
Roy Ayers Ubiquity,
Marcia Griffiths,
Talk Talk,
Terry Callier,
Amon Düül II,
Throbbing Gristle,
Von Mondo,
Organ,
The Pop Group,
Maleditus Sound,
Davy DMX,
Rufus Thomas,
Toni Rubio,
10cc,
H. Thieme,
Minutemen,
the Association,
Hoover,
T.S.O.L.,
Shoche,
Röyhkä ja Rättö ja Lehtisalo,
Kenny Larkin,
The Leaves,
The Doors,
China Crisis,
Procol Harum,
Faraquet,
Rapeman,
Gary Puckett & The Union Gap,
Cymande,
The West Coast Pop Art Experimental Band,
Animal Collective,
Barbara Tucker,
Lakeside,
Fatback Band,
Josef K,
The Gun Club,
Ronnie Foster,
Rod Modell,
Don Cherry,
ABBA,
Das Ding,
The Fire Engines,
Pole,
Glambeats Corp.,
Judy Mowatt,
Marc Romboy vs. Booka Shade,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.