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 Burkina and from New York.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Columbus 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 Zapp practice in a loft in Hamilton.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Iggy Pop to the jazz 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 Cecil Taylor. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
Rosa Yemen,
The Last Poets,
Ultra Naté,
Funky Four + One,
Inner City,
Negative Approach,
Shoche,
Absolute Body Control,
Pharoah Sanders,
Jeff Lynne,
Slave,
Young Marble Giants,
Country Teasers,
The Blackbyrds,
The Index,
Radiopuhelimet,
Bush Tetras,
a-ha,
A Flock of Seagulls,
Archie Shepp,
Susan Cadogan,
Avey Tare,
Andrew Hill,
Roxy Music,
Steve Hackett,
Rhythim Is Rhythim,
Strawberry Alarm Clock,
Television,
Vladislav Delay,
Jeff Mills,
Robert Wyatt,
Suburban Knight,
Agent Orange,
U.S. Maple,
Avey Tare's Slasher Flicks,
Slick Rick,
Clear Light,
B.T. Express,
The Leaves,
The Names,
James Chance & The Contortions,
The United States of America,
CMW,
Eyeless In Gaza,
Derrick Morgan,
Scan 7,
The Dead C,
Qualms,
Graham Central Station,
T. Rex,
Das Ding,
The Sisters of Mercy,
Charles Mingus,
The Detroit Cobras,
The J.B.'s,
Tropical Tobacco,
Crooked Eye,
Second Layer,
The Misunderstood,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.