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 Mali and from Columbus.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Toronto and New York.
I'm losing my edge to the art-school Milan 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Larry & the Blue Notes to the punk kids.
I played it at Trash.
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 These Immortal Souls. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal grime 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 sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Super Lover Cee & Casanova Rud record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
The New Christs,
Franke,
Aural Exciters,
Girls At Our Best!,
Deepchord,
Essential Logic,
Animal Collective,
Pole,
The Fugs,
Marc Almond,
Charles Mingus,
Clear Light,
Aaron Thompson,
Flamin' Groovies,
Pharaoh Sanders and the Fire Engines,
Idris Muhammad,
Lungfish,
A Certain Ratio,
Livin' Joy,
Tears for Fears,
Bang on a Can All-Stars,
Rekid,
Masters at Work,
Ken Boothe,
Easy Going,
Spoonie Gee,
The Names,
Q and Not U,
10cc,
Vladislav Delay,
Lakeside,
Sex Pistols,
Parry Music,
Lou Reed & John Cale,
Hardrive,
Godley & Creme,
Pharoah Sanders,
Niagra,
Kauko Röyhkä ja Narttu,
Shoche,
Liliput,
Jesper Dahlback,
David McCallum,
Sound Behaviour,
Motorama,
Nick Cave & The Bad Seeds,
Magazine,
David Axelrod,
The Dead C,
Richard Hell and the Voidoids,
U.S. Maple,
The Blues Magoos,
The Doors,
Piero Umiliani,
Byron Stingily,
Jacob Miller,
Lebanon Hanover,
Fifty Foot Hose,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.