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 Portugal and from Lille.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Lagos 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 Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 In Retrospect 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 Johnny Osbourne. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dave Clark Five,
Magazine,
Hasil Adkins,
Oppenheimer Analysis,
Outsiders,
The Monks,
Fear,
Ultra Naté,
Visionaries,LMNO, T- Love & Iriscience,
Minnie Riperton,
Slave,
Procol Harum,
A Certain Ratio,
Joyce Sims,
John Lydon,
Richard Hell and the Voidoids,
Harpers Bizarre,
The Mojo Men,
Orchestral Manoeuvres in the Dark,
Ultramagnetic MC's,
The Star Department,
Half Japanese,
Juan Atkins,
Royal Trux,
Television,
Pet Shop Boys,
Pantytec,
Amon Düül,
Janne Schatter,
Pharaoh Sanders and the Fire Engines,
New Age Steppers,
8 Eyed Spy,
The Saints,
Tomorrow,
Selector Dub Narcotic,
Kas Product,
Au Pairs,
Glenn Branca,
Be Bop Deluxe,
Althea and Donna,
Jimmy McGriff,
Prince Buster,
Dual Sessions,
Black Pus,
Justin Hinds & The Dominoes,
Ronan,
The Count Five,
Curtis Mayfield,
Easy Going,
Carl Craig,
Rosa Yemen,
Deakin,
Terrestrial Tones,
Jacques Brel,
Neil Young,
Jeff Mills,
Black Moon,
Radiohead,
The Blues Magoos,
Warsaw,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.