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 United States and from Milan.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1974.
I'm losing my edge.
To all the kids in Bologna and Lagos.
I'm losing my edge to the art-school Johannesburg 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 oboe 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 Reuben Wilson to the dance 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 Black Sheep. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
The Searchers,
Avey Tare,
June of 44,
FM Einheit,
Davy DMX,
Glambeats Corp.,
Ossler,
Masters at Work,
Rufus Thomas,
Jeru the Damaja,
The Fortunes,
Lower 48,
Barrington Levy,
EPMD,
Buzzcocks,
Iggy Pop,
Wasted Youth,
Infiniti,
The Red Krayola,
Aswad,
Heaven 17,
10cc,
Reagan Youth,
Warren Ellis,
Blancmange,
Country Joe & The Fish,
Country Teasers,
The Detroit Cobras,
Jandek,
Brass Construction,
Althea and Donna,
The Invisible,
UT,
The Durutti Column,
Juan Atkins,
Pete Rock & C.L. Smooth,
Porter Ricks,
The Standells,
New Age Steppers,
Massinfluence,
Mary Jane Girls,
Sugar Minott,
Skarface,
Jesper Dahlback,
Alison Limerick,
Television Personalities,
Swell Maps,
Radiopuhelimet,
The J.B.'s,
The Mojo Men,
U.S. Maple,
Larry & the Blue Notes,
Ronan,
Marshall Jefferson,
Barclay James Harvest,
Bronski Beat,
Skaos,
Kevin Saunderson,
Max Romeo,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.