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 Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Lyon 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 David Axelrod to the grime kids.
I played it at the Crocodile.
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 D'Angelo. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Moebius,
Kaleidoscope,
Kas Product,
The Techniques,
Angry Samoans,
Schoolly D,
10cc,
Heaven 17,
Procol Harum,
It's A Beautiful Day,
Beasts of Bourbon,
Harmonia,
Oppenheimer Analysis,
The Happenings,
David Bowie,
Robert Hood,
Organ,
Brick,
X-101,
Lou Christie,
Scott Walker,
Trumans Water,
Shoche,
Traffic Nightmare,
Lou Reed & Metallica,
The Selecter,
Sandy B,
Magazine,
Pete Rock & C.L. Smooth,
The Young Rascals,
The Motions,
Altered Images,
Aural Exciters,
The Monks,
June Days,
Joey Negro,
Kurtis Blow,
Cybotron,
Nick Fraelich,
Radiohead,
Quando Quango,
Faust,
The Stooges,
Sällskapet,
Arcadia,
Byron Stingily,
Porter Ricks,
Circle Jerks,
Flamin' Groovies,
Barclay James Harvest,
8 Eyed Spy,
Motorama,
Althea and Donna,
Robert Görl,
Nico,
Gang Starr,
Joe Finger,
Essential Logic,
Skaos,
Main Source,
Bang on a Can All-Stars,
Skarface,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.