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 Turkmenistan and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Houston 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 Donald Fagen 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 Goldenarms to the electroclash kids.
I played it at CBGB's.
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 Tomorrow. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Talk Talk 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 '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Roy Ayers Ubiquity,
Anakelly,
A Certain Ratio,
Tim Buckley,
Von Mondo,
The Monochrome Set,
Jimmy McGriff,
Anthony Braxton,
Althea and Donna,
the Swans,
Louis and Bebe Barron,
Davy DMX,
Rufus Thomas,
Procol Harum,
Warren Ellis,
Heavy D & The Boyz,
Urselle,
Soft Cell,
Tomorrow,
Vainqueur,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Avey Tare's Slasher Flicks,
Tom Boy,
Wolf Eyes,
Gang Green,
The Sound,
China Crisis,
Country Teasers,
Schoolly D,
The Moody Blues,
Clear Light,
DNA,
10cc,
The Flesh Eaters,
The Dead C,
Camberwell Now,
the Bar-Kays,
Nas,
Suburban Knight,
Intrusion,
MDC,
Lower 48,
Kauko Röyhkä ja Narttu,
Wally Richardson,
Boogie Down Productions,
Quantec,
Alton Ellis,
Cheater Slicks,
Dual Sessions,
Rahsaan Roland Kirk,
Bang On A Can,
Crooked Eye,
Ossler,
Altered Images,
New Age Steppers,
Robert Hood,
The Alarm Clocks,
The Velvet Underground,
Swell Maps,
Gang Starr,
The Men They Couldn't Hang,
James White and The Blacks,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.