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 Bolivia and from Lille.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Columbus 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare 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 Suicide to the disco 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 Funky Four + One. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Juan Atkins,
Black Flag,
Alphaville,
Andrew Ashong & Theo Parrish,
Mantronix,
Gian Franco Pienzio,
Big Daddy Kane,
Mary Jane Girls,
the Soft Cell,
Nick Cave & The Bad Seeds,
The Misunderstood,
Pantytec,
T.S.O.L.,
Althea and Donna,
David Bowie,
Jerry Gold Smith,
The Trojans,
Donald Byrd,
The Birthday Party,
Pete Rock & C.L. Smooth,
Fort Wilson Riot,
Hot Snakes,
Khruangbin,
Malaria!,
Visage,
Sly & The Family Stone,
Adolescents,
CMW,
T. Rex,
Desert Stars,
Gang of Four,
Sun Ra Arkestra,
Mr. Review,
James White and The Blacks,
Sixth Finger,
The Martian,
Charles Mingus,
Half Japanese,
Flipper,
Bang on a Can All-Stars,
Kayak,
Piero Umiliani,
Circle Jerks,
F. McDonald,
John Foxx,
Ossler,
AZ,
Cybotron,
Wolf Eyes,
Morten Harket,
Schoolly D,
K-Klass,
Cymande,
Anthony Braxton,
Japan,
Sister Nancy,
Monolake,
Pierre Henry,
Altered Images,
The Vogues,
The Alarm Clocks,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.