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 Ethiopia and from Philadelphia.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Madrid 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 güiro 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 Bootsy Collins to the grunge kids.
I played it at the Hacienda.
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 Accadde A. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wings,
Curtis Mayfield,
Marine Girls,
Liliput,
The Busters,
8 Eyed Spy,
Neu!,
The Monks,
Johnny Osbourne,
The Young Rascals,
Yusef Lateef,
Wighnomy Brothers & Robag Wruhme,
Parry Music,
Cecil Taylor,
Schoolly D,
Jimmy McGriff,
The Leaves,
Accadde A,
Lou Reed,
Barrington Levy,
Rahsaan Roland Kirk,
De La Soul & Jungle Brothers,
Neil Young,
Terrestrial Tones,
Todd Rundgren,
Stiv Bators,
The Fugs,
D'Angelo,
Ken Boothe,
Brick,
Jacques Brel,
Minnie Riperton,
Harpers Bizarre,
DJ Style,
Ultra Naté,
These Immortal Souls,
Amazonics,
Röyhkä ja Rättö ja Lehtisalo,
Big Daddy Kane,
Lindisfarne,
The Zeros,
The Music Machine,
CMW,
Matthew Bourne,
Slave,
Interpol,
Hashim,
Sexual Harrassment,
Strawberry Alarm Clock,
Eddi Front,
Lizzy Mercier Descloux,
Visage,
Janne Schatter,
Terry Callier,
Jacob Miller,
Vaughan Mason & Crew,
The Index,
The Dead C,
Dawn Penn,
Bang on a Can All-Stars,
Ossler,
Brand Nubian,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.