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 Algeria and from Shanghai.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Woodstock 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 arpeggiator 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 The Gun Club to the dance 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 Avey Tare & Kría Brekkan. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker + Sunn O))) record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Los Fastidios,
Lebanon Hanover,
David Bowie,
JFA,
Minnie Riperton,
The Techniques,
Adolescents,
Television,
Dennis Brown,
Glenn Branca,
Gil Scott-Heron and Jamie xx,
Bang On A Can,
The Music Machine,
The Chocolate Watch Band,
Drexciya,
Ultravox,
H. Thieme,
Eli Mardock,
OOIOO,
De La Soul & Jungle Brothers,
Eddi Front,
Robert Görl,
Buzzcocks,
Kenny Larkin,
Soulsonic Force,
Jerry's Kids,
Zero Boys,
Negative Approach,
Sam Rivers,
The Red Krayola,
Sixth Finger,
Model 500,
Sparks,
Notorious Big And Bone Thugs,
Joey Negro,
John Holt,
Jesper Dahlback,
Gastr Del Sol,
Lyres,
Underground Resistance,
Jandek,
The Doors,
The Black Dice,
48th St. Collective,
Jacques Brel,
Harpers Bizarre,
Robert Wyatt,
Barry Ungar,
Vainqueur,
Cymande,
Terry Callier,
Gil Scott Heron,
Reuben Wilson,
Curtis Mayfield,
Terror Squad Feat. Camron,
Bobby Byrd,
Dawn Penn,
The Durutti Column,
Derrick Morgan,
U.S. Maple,
The Star Department,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.