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 Korea North and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school New York 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Sam Rivers to the techno 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 The Last Poets. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Trumans Water 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ossler record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Stereo Dub,
Brothers Johnson,
Kevin Saunderson,
Moby Grape,
cv313,
Soul II Soul,
Danielle Patucci,
The Toasters,
Kool Moe Dee,
The West Coast Pop Art Experimental Band,
The Gun Club,
The Men They Couldn't Hang,
Pole,
Massinfluence,
Fela Kuti,
Robert Görl,
Tears for Fears,
Ultramagnetic MC's,
Soul Sonic Force,
Country Joe & The Fish,
X-102,
Tommy Roe,
Jesper Dahlback,
D'Angelo,
L. Decosne,
U.S. Maple,
Roy Ayers Ubiquity,
New Age Steppers,
The Dirtbombs,
DJ Style,
Jesper Dahlbäck,
Deakin,
T. Rex,
X-Ray Spex,
Altered Images,
The Fugs,
Joe Smooth,
Steve Hackett,
Glambeats Corp.,
Rapeman,
Eric Dolphy,
Reuben Wilson,
Ken Boothe,
The Seeds,
Lungfish,
Rufus Thomas,
The Red Krayola,
Khruangbin,
The Victims,
Hashim,
Japan,
The Modern Lovers,
Scott Walker,
Vainqueur,
Slave,
Surgeon,
Main Source,
Neu!,
Flamin' Groovies,
the Sonics, the Sonics, the Sonics, the Sonics.
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.