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 Jamaica and from Portland.
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 1976.
I'm losing my edge.
To all the kids in Spokane and Houston.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Half Japanese to the jazz kids.
I played it at the 40 Watt.
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 Sly & The Family Stone. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Outsiders 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Guru Guru,
Louis and Bebe Barron,
Colin Newman,
Shoche,
Fear,
Pet Shop Boys,
Fifty Foot Hose,
Marc Almond,
Soft Machine,
Sun City Girls,
Eric Dolphy,
Massinfluence,
the Swans,
Hot Snakes,
Minny Pops,
Leonard Cohen,
Alison Limerick,
Judy Mowatt,
Trumans Water,
The Moody Blues,
Deadbeat,
Gregory Isaacs,
Skarface,
KRS-One,
Organ,
Niagra,
Jawbox,
Marc Romboy vs. Booka Shade,
Nick Cave & The Bad Seeds,
The Smoke,
Flipper,
Scan 7,
Von Mondo,
The Star Department,
Barry Ungar,
Jerry's Kids,
Eli Mardock,
Theoretical Girls,
Dual Sessions,
Babytalk,
Joe Finger,
Man Parrish,
The Trojans,
Echospace,
Deepchord,
Mad Mike,
X-102,
Sandy B,
Scratch Acid,
H. Thieme,
Lou Reed,
Andrew Hill,
Country Joe & The Fish,
Rakim,
This Heat,
Section 25,
Ten City,
Little Man,
The J.B.'s,
Funkadelic,
Max Romeo,
Terry Callier,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.