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 Stockholm.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Accra and Madrid.
I'm losing my edge to the art-school Taipei 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Reuben Wilson 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 Deakin. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Jimmy McGriff,
The Fugs,
Fad Gadget,
Crooked Eye,
The Busters,
Crispy Ambulance,
Danielle Patucci,
The New Christs,
Freddie Wadling,
Model 500,
Dark Day,
Excepter,
Mark Hollis,
Popol Vuh,
Niagra,
Stockholm Monsters,
the Fania All-Stars,
Nick Fraelich,
Pharaoh Sanders and the Fire Engines,
The Standells,
Essential Logic,
Deutsch Amerikanische Freundschaft,
Slave,
Marcia Griffiths,
Wings,
Toni Rubio,
Oblivians,
Ponytail,
Jeru the Damaja,
Kings Of Tomorrow,
Procol Harum,
Traffic Nightmare,
Ultravox,
Steve Hackett,
Organ,
Bob Dylan,
Kurtis Blow,
Glenn Branca,
Gabor Szabo,
Fluxion,
Nation of Ulysses,
Siouxsie and the Banshees,
Buzzcocks,
Mission of Burma,
Infiniti,
Schoolly D,
Liliput,
LL Cool J,
Ronan,
Tubeway Army,
Grandmaster Flash,
Bluetip,
Gian Franco Pienzio,
The Misunderstood,
Joyce Sims,
The Star Department,
Gregory Isaacs,
The Durutti Column,
Lyres,
Sonic Youth,
The Tremeloes,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.