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 Montenegro and from Lyon.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school Beijing 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Swell Maps to the techno kids.
I played it at the Troubador.
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 Magazine. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Main Source,
Fugazi,
The Fugs,
Marc Romboy vs. Booka Shade,
Patti Smith,
the Normal,
Jacques Brel,
Bootsy Collins,
Gong,
L. Decosne,
The Cosmic Jokers,
Danielle Patucci,
Masters at Work,
Freddie Wadling,
The Associates,
Joey Negro,
Bobby Byrd,
The Moody Blues,
This Heat,
The Gap Band,
Rowland S Howard / Lydia Lunch,
Whodini,
Matthew Halsall,
Derrick May,
Roy Ayers,
Godley & Creme,
Parry Music,
Sparks,
Neu!,
Tim Buckley,
Derrick Morgan,
Jesper Dahlbäck,
Pierre Henry,
Magma,
Deakin,
R.M.O.,
Lindisfarne,
Quantec,
Grauzone,
Deutsch Amerikanische Freundschaft,
Pantaleimon,
The Velvet Underground,
Maleditus Sound,
Davy DMX,
Fluxion,
Arthur Verocai,
the Swans,
Todd Terry,
Boz Scaggs,
Fifty Foot Hose,
Max Romeo,
The Mojo Men,
The Techniques,
Con Funk Shun,
Roxy Music,
Second Layer,
Sonny Sharrock,
Fear,
Interpol, Interpol, Interpol, Interpol.
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.