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 Bahrain and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1962 to 1975.
I'm losing my edge.
To all the kids in Lyon and Tehran.
I'm losing my edge to the art-school Accra 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Rahsaan Roland Kirk to the jazz 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 Sound. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Average White Band,
The Dirtbombs,
Kurtis Blow,
Procol Harum,
Angels of Light & Akron/Family,
E-Dancer,
Throbbing Gristle,
Roy Ayers,
Avey Tare,
Rahsaan Roland Kirk,
Brothers Johnson,
Johnny Osbourne,
The Standells,
Sällskapet,
Glambeats Corp.,
Oblivians,
Pantaleimon,
Nico,
Maleditus Sound,
The Smiths,
Crime,
Wasted Youth,
Marvin Gaye,
Moby Grape,
Big Daddy Kane,
The Skatalites,
Scott Walker,
Silicon Teens,
Stetsasonic,
Hardrive,
Wolf Eyes,
Hashim,
Funkadelic,
The Neon Judgement,
Interpol,
Prince Buster,
Main Source,
Crash Course in Science,
Flipper,
Notorious Big And Bone Thugs,
Ultra Naté,
Heaven 17,
8 Eyed Spy,
The Wake,
Harmonia,
Public Enemy,
The Leaves,
Crispian St. Peters,
The Sound,
The Star Department,
Andrew Ashong & Theo Parrish,
Aaron Thompson,
Jerry Gold Smith,
The Durutti Column,
June Days,
The J.B.'s,
Roxette,
Guru Guru,
Mr. Review,
The Litter,
The Human League,
Gang Green, Gang Green, Gang Green, Gang Green.
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.