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 Belgium and from Milan.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Neu! practice in a loft in Düsseldorf.
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 The Kinks to the jazz kids.
I played it at the Troubador.
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 Mark Hollis. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Avey Tare's Slasher Flicks,
Pere Ubu,
Pete Rock & C.L. Smooth,
Stereo Dub,
Delta 5,
Soft Machine,
The Gladiators,
the Association,
Yaz,
Scrapy,
Marshall Jefferson,
Babytalk,
Angels of Light & Akron/Family,
Max Romeo,
The Searchers,
Quadrant,
ABBA,
These Immortal Souls,
Desert Stars,
Bang on a Can All-Stars,
Minnie Riperton,
Make Up,
Public Image Ltd.,
Godley & Creme,
Crispian St. Peters,
The Fall,
Silicon Teens,
the Normal,
Avey Tare & Kría Brekkan,
James White and The Blacks,
Masters at Work,
The Martian,
Hardrive,
Ten City,
Zapp,
Brand Nubian,
World's Most,
John Coltrane,
Das Ding,
Swell Maps,
The United States of America,
CMW,
Bizarre Inc.,
Scratch Acid,
The Doobie Brothers,
Faust,
Sugar Minott,
Tubeway Army,
Jesper Dahlbäck,
Black Moon,
Donald Byrd,
Rekid,
Wire,
Alice Coltrane,
The Misunderstood,
The Divine Comedy,
Terrestrial Tones,
Adolescents,
Warren Ellis,
Teenage Jesus and the Jerks,
The Star Department,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.