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 Mongolia and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Seoul and Lagos.
I'm losing my edge to the art-school Tehran 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 spring reverb 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 Dark Day to the disco kids.
I played it at the Astoria.
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 Country Joe & The Fish. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Amon Düül II,
Japan,
The Modern Lovers,
Black Bananas,
Nick Cave & The Bad Seeds,
Anthony Braxton,
Matthew Bourne,
Rufus Thomas,
Jeff Lynne,
Faraquet,
The Remains,
Jandek,
Mad Mike,
The Index,
the Bar-Kays,
It's A Beautiful Day,
Franke,
Monolake,
Agitation Free,
Unwound,
PIL,
Henry Cow,
Maurizio,
The Black Dice,
Grey Daturas,
Masters at Work,
Echo & the Bunnymen,
Youth Brigade,
Harmonia,
Mark Hollis,
The Barracudas,
DeepChord presents Echospace,
Louis and Bebe Barron,
Basic Channel,
The Walker Brothers,
Magma,
X-101,
Angels of Light & Akron/Family,
Gerry Rafferty,
Bill Near,
The Electric Prunes,
Black Pus,
Lou Reed & John Cale,
The Standells,
Con Funk Shun,
10cc,
Todd Terry,
The Fortunes,
Pierre Henry,
Neil Young & Crazy Horse,
Lebanon Hanover,
David Bowie,
Country Teasers,
Stereo Dub,
the Soft Cell,
The Five Americans,
The Sonics,
Warren Ellis,
Flamin' Groovies,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.