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 Slovakia and from Lagos.
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 1977.
I'm losing my edge.
To all the kids in Spokane and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 It's A Beautiful Day 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 Liliput. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Man Eating Sloth,
Blancmange,
Agent Orange,
EPMD,
Nation of Ulysses,
Magazine,
Deakin,
Loose Ends,
Ossler,
The Offenders,
Letta Mbulu,
Stereo Dub,
Bang On A Can,
Pharoah Sanders,
Kenny Larkin,
Tears for Fears,
Brothers Johnson,
U.S. Maple,
Unrelated Segments,
Terrestrial Tones,
John Holt,
Con Funk Shun,
Graham Central Station,
Faraquet,
Motorama,
Ultimate Spinach,
Glambeats Corp.,
T. Rex,
Derrick May,
MC5,
Interpol,
Robert Wyatt,
Skarface,
The Velvet Underground,
Suicide,
The Stooges,
New Age Steppers,
Justin Hinds & The Dominoes,
The Leaves,
Dead Boys,
Scott Walker,
Bob Dylan,
Lyres,
Vainqueur,
Johnny Osbourne,
Livin' Joy,
Sticky Fingaz feat. Raekwon,
Lou Christie,
Bobby Sherman,
Drive Like Jehu,
Piero Umiliani,
Marvin Gaye,
Derrick Morgan,
Unwound,
Kaleidoscope,
The Music Machine,
Louis and Bebe Barron,
Todd Rundgren,
Roy Ayers Ubiquity,
The Seeds,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.