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 Sweden and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Milan.
I'm losing my edge to the art-school Sao Paulo 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 oboe 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 Neil Young & Crazy Horse to the jazz kids.
I played it at CBGB's.
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 Anthony Braxton. All the underground hits.
All the Association tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Peter & Gordon,
Notorious Big And Bone Thugs,
Ossler,
Hasil Adkins,
Rufus Thomas,
Gil Scott-Heron and Jamie xx,
Loose Ends,
Letta Mbulu,
Joe Smooth,
Jerry Gold Smith,
Minor Threat,
Funkadelic,
Traffic Nightmare,
8 Eyed Spy,
Bootsy Collins,
Lou Reed & Metallica,
Circle Jerks,
Radiopuhelimet,
Siglo XX,
Godley & Creme,
Tears for Fears,
John Cale,
Carl Craig,
Thinking Fellers Union Local 282,
Ultramagnetic MC's,
Roy Ayers,
The Mummies,
E-Dancer,
U.S. Maple,
Thompson Twins,
Patti Smith,
Guru Guru,
Minny Pops,
Quando Quango,
Rhythim Is Rhythim,
Bobbi Humphrey,
Kas Product,
Mark Hollis,
DNA,
Reuben Wilson,
Lyres,
Al Stewart,
Flash Fearless,
Ultravox,
The New Christs,
Mad Mike,
Jacob Miller,
Barclay James Harvest,
Barry Ungar,
JFA,
Fifty Foot Hose,
Soul II Soul,
Beasts of Bourbon,
Röyhkä ja Rättö ja Lehtisalo,
Ten City,
Wings,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.