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 Norway and from Halifax.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Philadelphia 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 Neu! practice in a loft in Düsseldorf.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Lebanon Hanover 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 Isaac Hayes. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
The Fortunes,
The United States of America,
Guru Guru,
Suburban Knight,
Gil Scott Heron,
Country Joe & The Fish,
Avey Tare's Slasher Flicks,
The Cosmic Jokers,
Pantaleimon,
Juan Atkins,
Television,
B.T. Express,
Eric Dolphy,
Josef K,
The Alarm Clocks,
The Count Five,
Magazine,
The Pop Group,
Althea and Donna,
Soul Sonic Force,
Jacob Miller,
Brand Nubian,
Pharaoh Sanders and the Fire Engines,
Davy DMX,
The Electric Prunes,
Avey Tare,
Matthew Bourne,
Duran Duran,
Arab on Radar,
Drive Like Jehu,
Robert Wyatt,
Japan,
The Chocolate Watch Band,
Red Lorry Yellow Lorry,
Hot Snakes,
Chris Corsano,
Stetsasonic,
X-101,
Peter and Kerry,
Matthew Halsall,
Hoover,
Agitation Free,
Grey Daturas,
Röyhkä ja Rättö ja Lehtisalo,
Massinfluence,
Mission of Burma,
the Slits,
Fort Wilson Riot,
Supertramp,
Sandy B,
Saccharine Trust,
Angels of Light & Akron/Family,
Tomorrow,
Be Bop Deluxe,
The Monks,
Radiopuhelimet,
Quando Quango,
Bang on a Can All-Stars,
Erasure,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.