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 Uzbekistan and from Paris.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Madrid and Copenhagen.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Siglo XX to the jazz kids.
I played it at the 40 Watt.
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 Ten City. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Quadrant,
Saccharine Trust,
Rowland S Howard / Lydia Lunch,
Man Parrish,
Teenage Jesus and the Jerks,
Stockholm Monsters,
Zero Boys,
The Modern Lovers,
Nick Fraelich,
Notorious Big And Bone Thugs,
Lou Reed & John Cale,
Lalann,
Ajijia Myrayebe,
L. Decosne,
James White and The Blacks,
AZ,
Blancmange,
Cheater Slicks,
Pharaoh Sanders and the Fire Engines,
The Seeds,
Masters at Work,
The Last Poets,
The Moleskins,
Wally Richardson,
The Martian,
Rotary Connection,
Hot Snakes,
Idris Muhammad,
MC5,
Beasts of Bourbon,
Joyce Sims,
Technova,
The Gories,
T. Rex,
The Cosmic Jokers,
The Litter,
Siglo XX,
Motorama,
Thinking Fellers Union Local 282,
Spandau Ballet,
Can,
The Gap Band,
The West Coast Pop Art Experimental Band,
Marine Girls,
Lee Hazlewood,
Rosa Yemen,
Janne Schatter,
Mandrill,
The Misunderstood,
The Blues Magoos,
Robert Görl,
Nick Cave & The Bad Seeds,
Matthew Bourne,
Fear,
Kas Product,
Bauhaus,
The Royal Family And The Poor,
Lou Reed & Metallica,
Aural Exciters,
Main Source,
a-ha,
Funky Four + One,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.