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 Mauritius and from Calgary.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Shanghai 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 Big Star practice in a loft in Memphis.
I was working on the sitar 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 Deutsch Amerikanische Freundschaft to the jazz 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 Alison Limerick. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Trumans Water 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
The Toasters,
Brass Construction,
Supertramp,
Eric B and Rakim,
Nico,
Judy Mowatt,
Quadrant,
Marshall Jefferson,
Zapp,
Niagra,
Babytalk,
Tubeway Army,
Glambeats Corp.,
Cecil Taylor,
Deakin,
Young Marble Giants,
Jeff Mills,
Gang Gang Dance,
Das Ding,
Pet Shop Boys,
H. Thieme,
James Chance & The Contortions,
These Immortal Souls,
Absolute Body Control,
Lucky Dragons,
Super Lover Cee & Casanova Rud,
Kenny Larkin,
Moebius,
Mad Mike,
Eric Dolphy,
Ice-T,
Mission of Burma,
Cymande,
a-ha,
Skaos,
Radiohead,
Larry & the Blue Notes,
Selector Dub Narcotic,
Model 500,
Arthur Verocai,
The Dirtbombs,
The Selecter,
Vainqueur,
Joyce Sims,
The Knickerbockers,
Skarface,
Soft Machine,
London Community Gospel Choir,
The Fortunes,
The Doors,
Lee Hazlewood,
Procol Harum,
Yusef Lateef,
ABBA,
Desert Stars,
Bush Tetras,
Johnny Osbourne,
Ultravox,
Drexciya,
Todd Terry,
JFA,
Symarip,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.