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 Luxembourg and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Ajijia Myrayebe to the rock kids.
I played it at Cafe Wha.
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 Essential Logic. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your snare and bought a guitar.
I hear that you and your band have sold your guitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Ajijia Myrayebe,
Panda Bear,
Aural Exciters,
Fear,
Pantaleimon,
Sixth Finger,
Marshall Jefferson,
Franke,
Gregory Isaacs,
Thee Headcoats,
The Velvet Underground,
Joyce Sims,
Larry & the Blue Notes,
Oblivians,
Sight & Sound,
Jerry's Kids,
Youth Brigade,
Strawberry Alarm Clock,
Bobby Byrd,
Neil Young,
Ash Ra Tempel,
Bobby Sherman,
The Sisters of Mercy,
Buzzcocks,
Warsaw,
Loose Ends,
Banda Bassotti,
Bobby Womack,
Crispian St. Peters,
Alice Coltrane,
Wire,
Louis and Bebe Barron,
K-Klass,
the Soft Cell,
Marc Almond,
Avey Tare,
The Men They Couldn't Hang,
Suburban Knight,
Skriet,
Pole,
Supertramp,
Monks,
Nik Kershaw,
Kool G Rap & DJ Polo,
Fugazi,
Echo & the Bunnymen,
Animal Collective,
The Cramps,
Dawn Penn,
Sam Rivers,
The Neon Judgement,
Essential Logic,
Traffic Nightmare,
Eric Dolphy,
the Slits,
Japan,
The Dead C,
Kango’s Stein Massive,
Cheater Slicks,
Faraquet,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.