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 East Timor and from Lille.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Houston 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 rhodes 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 Moss Icon 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 Bang On A Can. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Joy Division,
Glenn Branca,
The Leaves,
London Community Gospel Choir,
Goldenarms,
Swans,
Faraquet,
The Modern Lovers,
Model 500,
Bluetip,
Deutsch Amerikanische Freundschaft,
Reuben Wilson,
Joensuu 1685,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Siouxsie and the Banshees,
Yusef Lateef,
Lou Reed,
Cecil Taylor,
Brass Construction,
Fear,
Pantaleimon,
Altered Images,
Jacques Brel,
Rotary Connection,
Brothers Johnson,
The Pop Group,
Kerrie Biddell,
CMW,
Trumans Water,
Sun City Girls,
Lalann,
Delon & Dalcan,
Byron Stingily,
Moebius,
Pharaoh Sanders and the Fire Engines,
Pere Ubu,
Neu!,
10cc,
Spoonie Gee,
Kenny Larkin,
Siglo XX,
Nas,
Monks,
Black Moon,
Morten Harket,
F. McDonald,
Throbbing Gristle,
Johnny Osbourne,
Magma,
Slave,
Metal Thangz,
Hashim,
Boogie Down Productions,
Moby Grape,
James Chance & The Contortions,
The Sound,
E-Dancer,
David Axelrod,
Lucky Dragons,
Quantec, Quantec, Quantec, Quantec.
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.