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 Argentina and from Jakarta.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Mumbai.
I'm losing my edge to the art-school Bologna 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar sounds with much patience.
I was there when David Bowie 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 Lee Hazlewood to the rap kids.
I played it at the Roxy.
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 Wally Richardson. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Hasil Adkins 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 '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Joyce Sims,
Guru Guru,
The Barracudas,
Quadrant,
Slave,
The Buckinghams,
Reuben Wilson,
Thinking Fellers Union Local 282,
Tropical Tobacco,
Grey Daturas,
Funkadelic,
The Selecter,
Khruangbin,
Massinfluence,
Roy Ayers,
Fat Boys,
Bill Wells,
Cecil Taylor,
Lalann,
Accadde A,
The Red Krayola,
Alice Coltrane,
Kango’s Stein Massive,
Nation of Ulysses,
The Martian,
Ultra Naté,
Panda Bear,
The Offenders,
Avey Tare,
Gian Franco Pienzio,
E-Dancer,
Hot Snakes,
the Swans,
Radiohead,
Lebanon Hanover,
Ossler,
The Jesus and Mary Chain,
Blake Baxter,
Grandmaster Flash,
Traffic Nightmare,
Flash Fearless,
Sun City Girls,
DJ Style,
Kool G Rap & DJ Polo,
Mark Hollis,
The Detroit Cobras,
Arab on Radar,
Liaisons Dangereuses,
Jesper Dahlback,
Goldenarms,
KRS-One,
Aloha Tigers,
Skarface,
Camouflage,
The Slackers,
Brass Construction,
Archie Shepp,
The Zeros,
The Sound,
The Invisible,
Excepter, Excepter, Excepter, Excepter.
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.