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 Swaziland and from Tokyo.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the guitar 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 The Buckinghams to the techno kids.
I played it at the Astoria.
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 De La Soul & Jungle Brothers. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Blake Baxter 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
T.S.O.L.,
Cal Tjader,
Urselle,
Sällskapet,
Bobby Hutcherson,
Lonnie Liston Smith,
The Remains,
A Certain Ratio,
Monolake,
Notorious BIG live in Amsterdam,
Deadbeat,
Arthur Verocai,
The Birthday Party,
Roger Hodgson,
Larry & the Blue Notes,
Television Personalities,
Nils Olav,
The Flesh Eaters,
Lebanon Hanover,
Eli Mardock,
The Smiths,
PIL,
The Chocolate Watch Band,
John Foxx,
Brass Construction,
Avey Tare & Kría Brekkan,
Brick,
The Moody Blues,
Kas Product,
Avey Tare,
Joyce Sims,
The Selecter,
Bluetip,
Yaz,
Crispy Ambulance,
Cameo,
Guru Guru,
Mary Jane Girls,
Marcia Griffiths,
Infiniti,
Nirvana,
The Beau Brummels,
Black Pus,
Albert Ayler,
Janne Schatter,
The Leaves,
Fear,
Surgeon,
Monks,
The Gladiators,
Letta Mbulu,
Marvin Gaye,
Negative Approach,
Mars,
Bobby Womack,
Jeff Mills,
Althea and Donna,
The Cowsills,
Tomorrow,
Scott Walker,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.