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 Cyprus and from Accra.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Portland 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 Althea and Donna to the rap 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 Little Man. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Shoche 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Kaleidoscope,
Marmalade,
Funkadelic,
Gastr Del Sol,
Flamin' Groovies,
The Slackers,
The Dave Clark Five,
John Coltrane,
The Residents,
Fifty Foot Hose,
Janne Schatter,
Erykah Badu,
Boogie Down Productions,
Popol Vuh,
John Cale,
Pylon,
China Crisis,
The Last Poets,
The Music Machine,
Jandek,
Cluster,
The Tremeloes,
Monolake,
Art Ensemble Of Chicago,
Minutemen,
Cal Tjader,
Sly & The Family Stone,
Amon Düül II,
John Foxx,
Pole,
Lou Reed,
Soft Machine,
Japan,
Minny Pops,
Simply Red,
Eyeless In Gaza,
Symarip,
Tropical Tobacco,
Pagans,
Von Mondo,
Dennis Brown,
Average White Band,
Panda Bear,
the Sonics,
Notorious Big And Bone Thugs,
Bobby Womack,
Faraquet,
Banda Bassotti,
Josef K,
The Blues Magoos,
Sixth Finger,
Jeff Lynne,
F. McDonald,
Nils Olav,
The Seeds,
Spandau Ballet,
Big Daddy Kane,
Theoretical Girls,
The Martian,
Chrome,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.