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 Manchester.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 the Germs to the electroclash kids.
I played it at the 40 Watt.
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 Dual Sessions. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
The Offenders,
Nas,
Jacob Miller,
La Düsseldorf,
Siouxsie and the Banshees,
Alice Coltrane,
LL Cool J,
Underground Resistance,
Excepter,
Eyeless In Gaza,
Rapeman,
Mad Mike,
Pagans,
The West Coast Pop Art Experimental Band,
Absolute Body Control,
Juan Atkins,
Hasil Adkins,
Angry Samoans,
The Vogues,
Ultramagnetic MC's,
Kool Moe Dee,
The Standells,
Bobby Byrd,
Public Image Ltd.,
Orchestral Manoeuvres in the Dark,
ABBA,
Harry Pussy,
Lalo Schifrin,
Pussy Galore,
Gil Scott-Heron & Brian Jackson,
Sun City Girls,
Fluxion,
Parry Music,
Japan,
Q and Not U,
Don Cherry,
Angels of Light & Akron/Family,
World's Most,
Kerri Chandler,
New Age Steppers,
Average White Band,
Chrome,
Altered Images,
The Residents,
Pharoah Sanders,
The Smiths,
Monks,
The Flesh Eaters,
The Blues Magoos,
The Young Rascals,
the Sonics,
Rosa Yemen,
John Foxx,
Sam Rivers,
Yusef Lateef,
Rahsaan Roland Kirk,
Lebanon Hanover,
Cluster,
Gil Scott Heron,
Boz Scaggs,
T.S.O.L.,
Bob Dylan,
Neil Young, Neil Young, Neil Young, Neil Young.
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.