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 Congo and from Copenhagen.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Lille and Lagos.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Gregory Isaacs to the jazz 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 Judy Mowatt. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every a-ha 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Jeff Mills,
Young Marble Giants,
Qualms,
Masters at Work,
Avey Tare's Slasher Flicks,
Gong,
Oppenheimer Analysis,
The Stooges,
Rowland S Howard / Lydia Lunch,
Silicon Teens,
Man Eating Sloth,
Gastr Del Sol,
Gichy Dan,
cv313,
Byron Stingily,
Animal Collective,
Pagans,
Henry Cow,
The Busters,
Japan,
Sun Ra Arkestra,
Robert Wyatt,
Letta Mbulu,
Duran Duran,
Stereo Dub,
Negative Approach,
Gary Puckett & The Union Gap,
Lakeside,
Schoolly D,
Hasil Adkins,
Glambeats Corp.,
The Real Kids,
Marmalade,
Monks,
Deepchord,
Black Pus,
Y Pants,
Gian Franco Pienzio,
The Residents,
Delon & Dalcan,
Dorothy Ashby,
London Community Gospel Choir,
The Birthday Party,
Gil Scott-Heron & Brian Jackson,
Aswad,
L. Decosne,
Theoretical Girls,
Ronnie Foster,
The Tremeloes,
Kayak,
The Associates,
The Music Machine,
Arab on Radar,
In Retrospect,
Bobbi Humphrey,
Television Personalities,
Marine Girls,
John Holt,
Deutsch Amerikanische Freundschaft,
The Electric Prunes,
Flipper,
Lyres, Lyres, Lyres, Lyres.
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.