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 Comoros and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Taipei 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 Lou Reed 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 Gary Puckett & The Union Gap to the techno kids.
I played it at the Hacienda.
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 Jerry's Kids. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Mantronix 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Nick Cave & The Bad Seeds,
Marc Almond,
Jerry Gold Smith,
Strawberry Alarm Clock,
Danielle Patucci,
Icehouse,
Jerry's Kids,
Sparks,
Nas,
Urselle,
New York Dolls,
David Axelrod,
DNA,
Dennis Brown,
Bobby Byrd,
Severed Heads,
Young Marble Giants,
The Mojo Men,
Roxy Music,
K-Klass,
The Chocolate Watch Band,
The Names,
Letta Mbulu,
It's A Beautiful Day,
The Smiths,
Pantaleimon,
Kaleidoscope,
Slave,
The Fugs,
Spandau Ballet,
The Stooges,
Sugar Minott,
Sun City Girls,
Sly & The Family Stone,
Jacques Brel,
Harry Pussy,
The United States of America,
Major Organ And The Adding Machine,
the Soft Cell,
Pharaoh Sanders and the Fire Engines,
Rapeman,
Manfred Mann's Earth Band,
Neil Young,
The Jesus and Mary Chain,
Big Daddy Kane,
Lyres,
Amon Düül,
The Dead C,
Oblivians,
Model 500,
Japan,
the Fania All-Stars,
Alton Ellis,
Avey Tare,
Essential Logic,
Scion,
Brass Construction,
Soulsonic Force,
Angels of Light & Akron/Family,
Black Pus,
Tropical Tobacco,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.