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 Costa Rica and from Lille.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Milan.
I'm losing my edge to the art-school Jakarta 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 organ sounds with much patience.
I was there when Nile Rodgers 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 Michelle Simonal to the crunk 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 the Fania All-Stars. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Avey Tare,
Sun City Girls,
T.S.O.L.,
Peter and Kerry,
The Mighty Diamonds,
Dawn Penn,
Larry & the Blue Notes,
Kas Product,
James Chance & The Contortions,
Cecil Taylor,
James White and The Blacks,
The Walker Brothers,
Magazine,
The Pop Group,
Yazoo,
Country Joe & The Fish,
Soul Sonic Force,
Faust,
Visionaries,LMNO, T- Love & Iriscience,
Barbara Tucker,
Aaron Thompson,
Babytalk,
the Human League,
Jeru the Damaja,
Ultramagnetic MC's,
Saccharine Trust,
Stereo Dub,
Andrew Hill,
Jandek,
Kurtis Blow,
Scott Walker + Sunn O))),
Sixth Finger,
Crooked Eye,
Ralphi Rosario,
Throbbing Gristle,
Idris Muhammad,
The Last Poets,
Rotary Connection,
Pet Shop Boys,
Delon & Dalcan,
Michelle Simonal,
Glambeats Corp.,
Traffic Nightmare,
U.S. Maple,
Roy Ayers Ubiquity,
Blancmange,
Mark Hollis,
The Gap Band,
Camouflage,
Harpers Bizarre,
The Dead C,
Banda Bassotti,
Ponytail,
New York Dolls,
Absolute Body Control,
The Martian,
Vladislav Delay,
Rites of Spring,
Rahsaan Roland Kirk,
Notorious BIG live in Amsterdam,
Minutemen,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.