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 Spain and from Woodstock.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Gabor Szabo to the electroclash 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 Television. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every MC5 record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
U.S. Maple,
Pylon,
The Gun Club,
Smog,
Wally Richardson,
Eli Mardock,
John Holt,
Television Personalities,
Captain Beefheart & His Magic Band,
Q and Not U,
Man Eating Sloth,
EPMD,
Barbara Tucker,
T. Rex,
The Litter,
Crispy Ambulance,
Essential Logic,
Eve St. Jones,
David McCallum,
Soft Cell,
John Coltrane,
MDC,
Swell Maps,
David Axelrod,
Tropical Tobacco,
Marvin Gaye,
Rites of Spring,
Spandau Ballet,
Sarah Menescal,
Roxy Music,
D'Angelo,
Peter and Kerry,
The Shadows of Knight,
The Mojo Men,
Swans,
Ludus,
Idris Muhammad,
Bobby Hutcherson,
Kerri Chandler,
DeepChord presents Echospace,
Tres Demented,
Main Source,
Cal Tjader,
Mary Jane Girls,
Lafayette Afro Rock Band,
Moebius,
Bang on a Can All-Stars,
Beasts of Bourbon,
The Barracudas,
Circle Jerks,
Jerry's Kids,
Bizarre Inc.,
Bobby Sherman,
Kayak,
Dawn Penn,
F. McDonald,
the Sonics,
Teenage Jesus and the Jerks,
ABBA,
Anakelly,
The Leaves,
Jeru the Damaja,
Deakin, Deakin, Deakin, Deakin.
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.