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 Kuwait and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Stockholm 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Pharoah Sanders to the punk 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 Boredoms. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every The Doors 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Don Cherry,
Gerry Rafferty,
Orchestral Manoeuvres in the Dark,
The Names,
This Heat,
Strawberry Alarm Clock,
Brass Construction,
Josef K,
The Leaves,
Visionaries,LMNO, T- Love & Iriscience,
Ronnie Foster,
Connie Case,
Chris & Cosey,
Janne Schatter,
Gil Scott-Heron & Brian Jackson,
Swell Maps,
Skriet,
E-Dancer,
Max Romeo,
Monolake,
Albert Ayler,
Bill Near,
The Detroit Cobras,
Ice-T,
Public Image Ltd.,
the Human League,
X-Ray Spex,
Fugazi,
Joyce Sims,
Faust,
Alison Limerick,
Scott Walker + Sunn O))),
Grauzone,
Mandrill,
Slave,
Bobby Hutcherson,
Magazine,
Black Pus,
Minnie Riperton,
Infiniti,
Q65,
John Holt,
Japan,
Lower 48,
Notorious Big And Bone Thugs,
Section 25,
Unwound,
Kango’s Stein Massive,
The Trojans,
Matthew Bourne,
Nik Kershaw,
Andrew Ashong & Theo Parrish,
The Doobie Brothers,
Chris Corsano,
Bronski Beat,
Letta Mbulu,
kango's stein massive,
Oppenheimer Analysis,
Anthony Braxton,
Susan Cadogan,
cv313,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.