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 Russia and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1973.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school New York 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 sitar 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 Neon Judgement to the grunge kids.
I played it at the Astoria.
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 Dave Clark Five. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Q and Not U,
Louis and Bebe Barron,
Bad Manners,
Suburban Knight,
Reuben Wilson,
The Chocolate Watch Band,
Robert Görl,
Kool G Rap & DJ Polo,
The Index,
The Neon Judgement,
Lalann,
Junior Murvin,
Amazonics,
The Sound,
Electric Light Orchestra,
Aswad,
Smog,
Jimmy McGriff,
The New Christs,
Jesper Dahlbäck,
Super Lover Cee & Casanova Rud,
Liliput,
Janne Schatter,
Television,
Fela Kuti,
Man Parrish,
Althea and Donna,
Popol Vuh,
Y Pants,
A Certain Ratio,
Ituana,
Ajijia Myrayebe,
Siglo XX,
Bizarre Inc.,
T. Rex,
The Monks,
Zapp,
In Retrospect,
Spandau Ballet,
The Fugs,
Ronnie Foster,
Monks,
The American Breed,
Sonny Sharrock,
Hasil Adkins,
Minutemen,
Sonic Youth,
Gang Starr,
Porter Ricks,
Josef K,
John Cale,
Pulsallama,
Sun Ra,
Nas,
Underground Resistance,
Das Ding,
Mars,
Nation of Ulysses,
LL Cool J,
The Angels of Light,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.