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 Malawi and from New York.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Houston and Winnipeg.
I'm losing my edge to the art-school Lille 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 snare sounds with much patience.
I was there when Donald Fagen 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 electroclash 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 Invisible. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Sonny Sharrock 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 '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Davy DMX,
Tom Boy,
Ultra Naté,
Flipper,
Al Stewart,
Matthew Bourne,
Kango’s Stein Massive,
Scratch Acid,
The Zeros,
Yusef Lateef,
Stetsasonic,
R.M.O.,
Idris Muhammad,
Crash Course in Science,
Vladislav Delay,
Eric Copeland,
Sam Rivers,
Fifty Foot Hose,
Rosa Yemen,
Mars,
Fela Kuti,
Scan 7,
Fear,
Easy Going,
Dual Sessions,
Delta 5,
Red Lorry Yellow Lorry,
Reagan Youth,
Moss Icon,
Avey Tare,
Talk Talk,
JFA,
Roy Ayers,
Donny Hathaway,
Little Man,
Leonard Cohen,
Lalo Schifrin,
The Barracudas,
Lou Christie,
Magma,
The Offenders,
Kerri Chandler,
Jerry's Kids,
Cluster,
Amon Düül II,
The Slackers,
Lonnie Liston Smith,
Pylon,
10cc,
Kayak,
Dr. Dre and Snoop Doggy Dog,
Bang On A Can,
Accadde A,
Johnny Clarke,
Skaos,
The United States of America,
Wolf Eyes,
Cal Tjader,
The Techniques,
Sun City Girls,
The Doors,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.