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 Guinea-Bissau and from Glasgow.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
I'm losing my edge to the art-school Paris 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 spring reverb 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 The Happenings to the rock kids.
I played it at the Troubador.
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 Gabor Szabo. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad 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 Saints,
Ralphi Rosario,
Rowland S Howard / Lydia Lunch,
Hot Snakes,
De La Soul & Jungle Brothers,
Big Daddy Kane,
Eyeless In Gaza,
The Star Department,
Black Pus,
Anthony Braxton,
Second Layer,
Pierre Henry,
The Cosmic Jokers,
Eden Ahbez,
Bush Tetras,
Wings,
Max Romeo,
Heavy D & The Boyz,
Deadbeat,
Roxette,
Johnny Clarke,
Yellowson,
Lou Reed & John Cale,
Wasted Youth,
The Toasters,
Justin Hinds & The Dominoes,
Absolute Body Control,
The Slackers,
Gastr Del Sol,
Selector Dub Narcotic,
The Leaves,
Drive Like Jehu,
Goldenarms,
The Neon Judgement,
Leonard Cohen,
Sparks,
John Coltrane,
Liaisons Dangereuses,
Sam Rivers,
Inner City,
Rhythm & Sound,
Public Image Ltd.,
Lou Reed & Metallica,
Smog,
The Beau Brummels,
Oneida,
Deakin,
Das Ding,
The Slits,
Fear,
a-ha,
Mandrill,
MDC,
E-Dancer,
This Heat,
London Community Gospel Choir,
Idris Muhammad,
The Trojans,
Slick Rick,
Warsaw,
the Sonics,
Marc Romboy vs. Booka Shade,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.