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 Dominican Republic and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Stockholm 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the arpeggiator 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 Grandmaster Flash and the Furious Five to the dance kids.
I played it at the Astoria.
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 a-ha. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Scientists 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Eric Copeland,
Lou Christie,
The Residents,
Terrestrial Tones,
Boogie Down Productions,
Deakin,
The Smiths,
Howard Jones,
Supertramp,
The Grass Roots,
Marvin Gaye,
Black Flag,
Gastr Del Sol,
Minny Pops,
Rod Modell,
Harry Pussy,
Con Funk Shun,
Heaven 17,
The Beau Brummels,
The Mighty Diamonds,
Second Layer,
Bush Tetras,
Bauhaus,
The Index,
Connie Case,
Ornette Coleman,
Swell Maps,
Young Marble Giants,
U.S. Maple,
Blossom Toes,
Danielle Patucci,
Jacques Brel,
Kango’s Stein Massive,
Bobby Womack,
The Toasters,
Stiv Bators,
Tommy Roe,
Infiniti,
Bang On A Can,
Massinfluence,
The Electric Prunes,
E-Dancer,
The Remains,
Black Sheep,
The Misunderstood,
Ossler,
L. Decosne,
Kenny Larkin,
Nick Fraelich,
The Black Dice,
Royal Trux,
Sun Ra,
Clear Light,
The Fire Engines,
Eden Ahbez,
The Sonics,
Lyres,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.