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 Ireland and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Jakarta and Tokyo.
I'm losing my edge to the art-school Manchester 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 Tom Verlaine 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 Archie Shepp to the electroclash kids.
I played it at the Roxy.
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 Andrew Hill. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Marvin Gaye,
The Sonics,
Ludus,
Gil Scott-Heron & Brian Jackson,
Bad Manners,
Scott Walker + Sunn O))),
Notorious BIG live in Amsterdam,
Barbara Tucker,
Marshall Jefferson,
Liliput,
Jeru the Damaja,
Gabor Szabo,
Lizzy Mercier Descloux,
Jawbox,
The Slits,
Juan Atkins,
The Victims,
The Birthday Party,
Sly & The Family Stone,
Electric Light Orchestra,
The Tremeloes,
Kings Of Tomorrow,
Livin' Joy,
The Velvet Underground,
Can,
Alton Ellis,
Art Ensemble Of Chicago,
Bobby Hutcherson,
Severed Heads,
Subhumans,
Joe Smooth,
Angry Samoans,
Drexciya,
The United States of America,
Gil Scott-Heron and Jamie xx,
Joey Negro,
Rotary Connection,
The Motions,
Lalo Schifrin,
Fort Wilson Riot,
Ornette Coleman,
Shoche,
Jesper Dahlbäck,
The Associates,
Hashim,
Faust,
The West Coast Pop Art Experimental Band,
These Immortal Souls,
The Buckinghams,
Nick Cave & The Bad Seeds,
Sunsets and Hearts,
June Days,
Oppenheimer Analysis,
Roxette,
Black Pus,
Essential Logic,
Theoretical Girls,
Robert Hood,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.