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 Cape Verde and from Winnipeg.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Madrid and Manila.
I'm losing my edge to the art-school Toronto 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 chamberlin 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 Moby Grape to the grunge kids.
I played it at the Crocodile.
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 Delta 5. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Tim Buckley,
Siglo XX,
Surgeon,
Rotary Connection,
Robert Wyatt,
Ash Ra Tempel,
8 Eyed Spy,
Lee Hazlewood,
Minny Pops,
Pantaleimon,
Brick,
Robert Hood,
Lizzy Mercier Descloux,
Cal Tjader,
Josef K,
London Community Gospel Choir,
Aswad,
Organ,
Michelle Simonal,
The Pop Group,
Visage,
Minutemen,
Kayak,
Young Marble Giants,
Franke,
Royal Trux,
Massinfluence,
Pagans,
the Swans,
Japan,
The Alarm Clocks,
The Smiths,
Joensuu 1685,
Fugazi,
Marcia Griffiths,
One Last Wish,
The Gap Band,
Oblivians,
Crispy Ambulance,
The Victims,
Fifty Foot Hose,
Zapp,
Lalann,
Be Bop Deluxe,
Scan 7,
Fort Wilson Riot,
Thinking Fellers Union Local 282,
New Age Steppers,
kango's stein massive,
Barbara Tucker,
Babytalk,
Whodini,
The West Coast Pop Art Experimental Band,
Deepchord,
Arthur Verocai,
Soulsonic Force,
Lonnie Liston Smith,
Infiniti,
Average White Band,
Rahsaan Roland Kirk,
Deadbeat,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.