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 South Africa and from Salvador.
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 1975.
I'm losing my edge.
To all the kids in Seoul and Winnipeg.
I'm losing my edge to the art-school Glasgow 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 spring reverb 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 Crime to the jazz 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 Rhythm & Sound. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Shoche,
The Pop Group,
Anakelly,
Smog,
Deutsch Amerikanische Freundschaft,
Second Layer,
Bad Manners,
Morten Harket,
The West Coast Pop Art Experimental Band,
Adolescents,
Johnny Osbourne,
Panda Bear,
Grandmaster Flash,
Röyhkä ja Rättö ja Lehtisalo,
Cheater Slicks,
The Shadows of Knight,
Jesper Dahlbäck,
Peter and Kerry,
The Five Americans,
The Trojans,
The United States of America,
Nick Cave & The Bad Seeds,
Warsaw,
Crooked Eye,
Gil Scott-Heron & Brian Jackson,
Unrelated Segments,
Basic Channel,
Tom Boy,
Avey Tare & Kría Brekkan,
Rosa Yemen,
Albert Ayler,
Traffic Nightmare,
James Chance & The Contortions,
Surgeon,
Franke,
Chris Corsano,
Aural Exciters,
Average White Band,
Unwound,
The Peanut Butter Conspiracy,
Nik Kershaw,
Larry & the Blue Notes,
A Flock of Seagulls,
Pylon,
Can,
Joy Division,
The Remains,
Royal Trux,
Curtis Mayfield,
Graham Central Station,
Pete Rock & C.L. Smooth,
Gabor Szabo,
The Dead C,
Hasil Adkins,
the Bar-Kays,
Mandrill,
Khruangbin,
Steve Hackett,
Scratch Acid,
Reuben Wilson,
The Selecter,
Fat Boys,
The Cosmic Jokers,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.