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 Bangladesh and from Spokane.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Accra.
I'm losing my edge to the art-school Spokane 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 marimba 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 Deadbeat to the electroclash kids.
I played it at the Hacienda.
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 New Order. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Deadbeat,
Lalann,
Sunsets and Hearts,
Hot Snakes,
Outsiders,
MC5,
Electric Prunes,
Susan Cadogan,
the Association,
Richard Hell and the Voidoids,
Rotary Connection,
Jesper Dahlback,
The Monks,
Second Layer,
The Techniques,
Grauzone,
Ludus,
Rod Modell,
Minny Pops,
Wighnomy Brothers & Robag Wruhme,
Cecil Taylor,
CMW,
Babytalk,
Bizarre Inc.,
Sun Ra Arkestra,
Bush Tetras,
Nick Cave & The Bad Seeds,
Harpers Bizarre,
Grey Daturas,
Sun Ra,
Intrusion,
Infiniti,
Don Cherry,
Rhythm & Sound,
Rakim,
Bobby Hutcherson,
Eli Mardock,
The Moleskins,
The Offenders,
The Red Krayola,
The Fortunes,
The Fugs,
Young Marble Giants,
Gil Scott-Heron and Jamie xx,
Marcia Griffiths,
Popol Vuh,
Gichy Dan,
The Birthday Party,
Schoolly D,
Kevin Saunderson,
Avey Tare & Kría Brekkan,
Idris Muhammad,
Minutemen,
The Count Five,
Cabaret Voltaire,
The Chocolate Watch Band,
Simply Red,
Aswad,
Jandek,
Neu!,
The Cosmic Jokers,
Bootsy's Rubber Band,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.