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 Colombia and from Portland.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Manila and Stockholm.
I'm losing my edge to the art-school Woodstock 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Electric Light Orchestra to the rock kids.
I played it at Trash.
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 Glenn Branca. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Albert Ayler,
Delon & Dalcan,
Justin Hinds & The Dominoes,
Suburban Knight,
Cameo,
Gang Gang Dance,
Bobby Sherman,
The Knickerbockers,
Main Source,
Larry & the Blue Notes,
Peter & Gordon,
Television,
Black Flag,
The Tremeloes,
DNA,
Skaos,
Vaughan Mason & Crew,
Lee Hazlewood,
Andrew Hill,
Flash Fearless,
Gabor Szabo,
New York Dolls,
Bill Near,
The Fugs,
Fluxion,
The Standells,
James White and The Blacks,
The Alarm Clocks,
The Fortunes,
John Foxx,
Scion,
Jeff Lynne,
Sun Ra,
Fatback Band,
The Monks,
Neu!,
The Happenings,
The Mighty Diamonds,
Eddi Front,
Amazonics,
Gong,
Depeche Mode,
Ralphi Rosario,
Orchestral Manoeuvres in the Dark,
Louis and Bebe Barron,
Colin Newman,
Suicide,
The Raincoats,
Freddie Wadling,
Easy Going,
Tropical Tobacco,
Ohio Players,
The Busters,
Mo-Dettes,
Gary Puckett & The Union Gap,
John Cale,
Röyhkä ja Rättö ja Lehtisalo,
Amon Düül II,
Siglo XX,
Inner City,
Surgeon, Surgeon, Surgeon, Surgeon.
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.