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 Antigua and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1972.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Portland 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 chamberlin 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 Darondo to the funk 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 Hoover. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 '70s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Public Enemy,
Jawbox,
The Real Kids,
Lalann,
Tropical Tobacco,
the Normal,
The Monks,
Derrick May,
Robert Wyatt,
Jacques Brel,
Stetsasonic,
Pierre Henry,
Pole,
The Moleskins,
The Last Poets,
Ash Ra Tempel,
John Coltrane,
Marshall Jefferson,
The Offenders,
Magazine,
The Pop Group,
Charles Mingus,
John Lydon,
Mo-Dettes,
Nas,
The Angels of Light,
Young Marble Giants,
The Gladiators,
Art Ensemble Of Chicago,
Interpol,
Be Bop Deluxe,
The Kinks,
Index,
the Soft Cell,
Johnny Osbourne,
Pharoah Sanders,
Glambeats Corp.,
Tomorrow,
T. Rex,
Brick,
The Happenings,
Barry Ungar,
The Human League,
Richard Hell and the Voidoids,
Pagans,
Chris Corsano,
The Cramps,
Colin Newman,
Circle Jerks,
Eric Copeland,
L. Decosne,
Avey Tare's Slasher Flicks,
Bobby Sherman,
The Moody Blues,
The Barracudas,
Alice Coltrane,
Tubeway Army,
Sunsets and Hearts,
The Walker Brothers,
Fatback Band,
Avey Tare & Kría Brekkan,
Frankie Knuckles,
The Mojo Men,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.