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 Palau and from Lagos.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Taipei.
I'm losing my edge to the art-school Woodstock 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 The Count Five to the techno 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 Marcia Griffiths. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Crime,
Skarface,
Organ,
EPMD,
Theoretical Girls,
Gastr Del Sol,
Reagan Youth,
Jesper Dahlbäck,
Newcleus,
Average White Band,
The Doobie Brothers,
Ossler,
Lyres,
Siglo XX,
Andrew Hill,
Ultramagnetic MC's,
E-Dancer,
Art Ensemble Of Chicago,
Eddi Front,
Robert Hood,
D'Angelo,
the Swans,
Qualms,
Deepchord,
Masters at Work,
Eve St. Jones,
Icehouse,
Rekid,
Notorious Big And Bone Thugs,
the Germs,
Major Organ And The Adding Machine,
Monks,
Henry Cow,
Johnny Osbourne,
Idris Muhammad,
Moby Grape,
The Victims,
Gang of Four,
This Heat,
Ultra Naté,
David Bowie,
Suicide,
Mr. Review,
Mars,
The Buckinghams,
Eric Copeland,
Ten City,
The Grass Roots,
Scratch Acid,
the Association,
Fluxion,
Peter and Kerry,
Livin' Joy,
Peter Gordon & Love of Life Orchestra,
Lou Christie,
Boz Scaggs,
James White and The Blacks,
Marc Romboy vs. Booka Shade,
The Moleskins,
Hot Snakes,
Joe Smooth,
Au Pairs,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.