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 Lesotho and from Bologna.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school Edmonton 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Gabor Szabo to the grime 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 Visage. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Crispian St. Peters 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Louis and Bebe Barron,
Swell Maps,
Camouflage,
Scratch Acid,
the Fania All-Stars,
Ronan,
Traffic Nightmare,
The Beau Brummels,
D'Angelo,
The Blues Magoos,
The Invisible,
Slick Rick,
Bill Near,
China Crisis,
The Fortunes,
Moss Icon,
X-Ray Spex,
The Martian,
Organ,
Joensuu 1685,
Angels of Light & Akron/Family,
Patti Smith,
Richard Hell and the Voidoids,
Kaleidoscope,
Radiohead,
Manfred Mann's Earth Band,
Moby Grape,
The Count Five,
Al Stewart,
Bill Wells,
Eve St. Jones,
Audionom,
Ultra Naté,
The Music Machine,
Flipper,
Lightning Bolt,
Bang on a Can All-Stars,
The Flesh Eaters,
Average White Band,
Con Funk Shun,
The Evens,
Glenn Branca,
Sun City Girls,
The Leaves,
Curtis Mayfield,
Symarip,
Anthony Braxton,
Janne Schatter,
Barbara Tucker,
De La Soul & Jungle Brothers,
Tres Demented,
Inner City,
Fear,
AZ,
Sex Pistols,
X-102,
Deepchord,
The West Coast Pop Art Experimental Band,
Letta Mbulu,
Notorious BIG live in Amsterdam,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.