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 Poland and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Taipei and Spokane.
I'm losing my edge to the art-school Lagos 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Scott Walker to the rock 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 John Cale. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Barry Ungar,
Sandy B,
Hasil Adkins,
Bauhaus,
Roxy Music,
Delta 5,
Gabor Szabo,
The Zeros,
Average White Band,
Danielle Patucci,
Kauko Röyhkä ja Narttu,
Sam Rivers,
Rites of Spring,
Gang of Four,
The Vogues,
Howard Jones,
Scott Walker,
Gary Puckett & The Union Gap,
The Peanut Butter Conspiracy,
the Germs,
The Barracudas,
Frankie Knuckles,
The Mighty Diamonds,
Angry Samoans,
Das Ding,
E-Dancer,
The Beau Brummels,
Lou Reed & Metallica,
Be Bop Deluxe,
The Raincoats,
Bluetip,
Jacob Miller,
Electric Light Orchestra,
Derrick May,
T. Rex,
Man Parrish,
The Remains,
Moby Grape,
Thinking Fellers Union Local 282,
The Sound,
Excepter,
Maurizio,
Khruangbin,
Larry & the Blue Notes,
Franke,
Nik Kershaw,
The Invisible,
Sarah Menescal,
The Names,
Symarip,
The Human League,
Joe Finger,
Bobby Hutcherson,
The Star Department,
Fela Kuti,
Glambeats Corp.,
Anthony Braxton,
Slick Rick,
Circle Jerks,
Q65,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.