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 Chad and from Hong Kong.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Madrid and New York.
I'm losing my edge to the art-school New York 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 1975 at the first Ubu practice in a loft in Cleveland.
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 Franke to the dance kids.
I played it at Trash.
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 Archie Shepp. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Robert Hood 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Symarip,
Curtis Mayfield,
Talk Talk,
Andrew Ashong & Theo Parrish,
Adolescents,
The Techniques,
Liaisons Dangereuses,
Gastr Del Sol,
Mary Jane Girls,
Piero Umiliani,
The Music Machine,
The Cramps,
David Axelrod,
Wally Richardson,
Notorious BIG live in Amsterdam,
Major Organ And The Adding Machine,
Von Mondo,
Pulsallama,
The Cowsills,
Pagans,
The Zeros,
Gregory Isaacs,
Patti Smith,
Kurtis Blow,
Connie Case,
Louis and Bebe Barron,
Deepchord,
Schoolly D,
Harmonia,
The Blues Magoos,
The Jesus and Mary Chain,
Aswad,
D'Angelo,
Man Parrish,
John Lydon,
The Associates,
Erykah Badu,
The Birthday Party,
Sex Pistols,
Fugazi,
Lightning Bolt,
Idris Muhammad,
World's Most,
Eric B and Rakim,
The Young Rascals,
Mission of Burma,
The Chocolate Watch Band,
Joey Negro,
Bobbi Humphrey,
Rotary Connection,
Vainqueur,
Popol Vuh,
Jacques Brel,
Zapp,
Soul II Soul,
Ken Boothe,
Robert Wyatt,
Public Enemy,
Bill Near,
Nirvana,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.