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 Solomon Islands and from Houston.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Hong Kong.
I'm losing my edge to the art-school Spokane 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Bizarre Inc. 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 Kings Of Tomorrow. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal grime 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 a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Heavy D & The Boyz,
Big Daddy Kane,
Icehouse,
The Men They Couldn't Hang,
Kool G Rap & DJ Polo,
Leonard Cohen,
Minny Pops,
Bootsy's Rubber Band,
Moebius,
Flamin' Groovies,
Public Image Ltd.,
Brass Construction,
Das Ding,
Section 25,
Dawn Penn,
Kauko Röyhkä ja Narttu,
Nation of Ulysses,
Avey Tare's Slasher Flicks,
LL Cool J,
KRS-One,
Ajijia Myrayebe,
Masters at Work,
June of 44,
Roxy Music,
Max Romeo,
John Coltrane,
Fatback Band,
These Immortal Souls,
Lower 48,
Magazine,
Dr. Dre and Snoop Doggy Dog,
the Bar-Kays,
Agitation Free,
kango's stein massive,
Quantec,
Stockholm Monsters,
Sister Nancy,
The Young Rascals,
Beasts of Bourbon,
The Misunderstood,
Peter & Gordon,
Monks,
Gastr Del Sol,
Johnny Clarke,
DNA,
Tommy Roe,
The Monks,
Lalann,
Electric Prunes,
Newcleus,
The West Coast Pop Art Experimental Band,
Sam Rivers,
the Fania All-Stars,
Banda Bassotti,
The Evens,
The J.B.'s,
Black Sheep,
Magma,
Soul Sonic Force,
Deakin,
The Kinks, The Kinks, The Kinks, The Kinks.
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.