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 Iceland and from Beijing.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Spokane and Bremen.
I'm losing my edge to the art-school London 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Can to the dance 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 The Evens. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
The Alarm Clocks,
Amon Düül,
Boz Scaggs,
Selector Dub Narcotic,
Anthony Braxton,
DeepChord presents Echospace,
Eric B and Rakim,
the Fania All-Stars,
Minutemen,
Panda Bear,
B.T. Express,
Derrick Morgan,
Electric Prunes,
Darondo,
DJ Sneak,
10cc,
Jeru the Damaja,
Essential Logic,
R.M.O.,
The Music Machine,
Kool Moe Dee,
cv313,
Saccharine Trust,
Dual Sessions,
Rotary Connection,
Franke,
Rahsaan Roland Kirk,
E-Dancer,
Peter Gordon & Love of Life Orchestra,
Gang Green,
Ten City,
Harmonia,
Kas Product,
Piero Umiliani,
Don Cherry,
Sun Ra Arkestra,
Barry Ungar,
PIL,
Alphaville,
Royal Trux,
The West Coast Pop Art Experimental Band,
Roxette,
Quantec,
The Skatalites,
The Doobie Brothers,
Spandau Ballet,
Siglo XX,
Agent Orange,
Soul II Soul,
China Crisis,
Q and Not U,
Absolute Body Control,
DJ Style,
The Detroit Cobras,
Terrestrial Tones,
Fifty Foot Hose,
The Selecter,
Guru Guru,
London Community Gospel Choir,
Wasted Youth,
Supertramp,
Quando Quango,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.