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 Argentina and from Taipei.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Johannesburg 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 John Lydon to the crunk kids.
I played it at the Spitz.
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 Monks. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Maurizio,
Tears for Fears,
Bobby Sherman,
The Happenings,
The Music Machine,
Heaven 17,
Neil Young,
the Association,
Peter & Gordon,
Warsaw,
Mary Jane Girls,
Bobby Womack,
Sound Behaviour,
Larry & the Blue Notes,
Kool Moe Dee,
Rapeman,
Gabor Szabo,
This Heat,
Malaria!,
Joy Division,
Cameo,
Faust,
Bang on a Can All-Stars,
Be Bop Deluxe,
Crooked Eye,
Dr. Dre and Snoop Doggy Dog,
Bob Dylan,
Sällskapet,
Nick Cave & The Bad Seeds,
Kenny Larkin,
Tom Boy,
8 Eyed Spy,
Soul Sonic Force,
Blossom Toes,
The Modern Lovers,
Das Ding,
Audionom,
Infiniti,
T. Rex,
Tres Demented,
Godley & Creme,
Amon Düül,
Eric Copeland,
Circle Jerks,
Sad Lovers and Giants,
Ken Boothe,
Ponytail,
Jeff Mills,
David McCallum,
Eden Ahbez,
Echo & the Bunnymen,
Derrick May,
X-Ray Spex,
Saccharine Trust,
Hashim,
Wasted Youth,
Stereo Dub,
Crime,
Essential Logic,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.