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 Portland.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Houston.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Country Joe & The Fish to the rap kids.
I played it at the Hacienda.
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 Technova. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Popol Vuh,
H. Thieme,
Fatback Band,
The Golliwogs,
Delon & Dalcan,
Colin Newman,
Thompson Twins,
Sunsets and Hearts,
Aural Exciters,
Alison Limerick,
Matthew Halsall,
Robert Wyatt,
Hasil Adkins,
Radiopuhelimet,
Masters at Work,
Quadrant,
Soft Machine,
Camouflage,
Crispian St. Peters,
Thee Headcoats,
Lucky Dragons,
Jawbox,
CMW,
Bobby Hutcherson,
Tom Boy,
Roy Ayers Ubiquity,
Q65,
Fat Boys,
Kaleidoscope,
The Index,
Main Source,
8 Eyed Spy,
Smog,
The Vogues,
The Velvet Underground,
Surgeon,
The Black Dice,
The Five Americans,
Echospace,
Barry Ungar,
Liliput,
Black Sheep,
K-Klass,
Das Ding,
Yellowson,
Angels of Light & Akron/Family,
The Walker Brothers,
Gregory Isaacs,
China Crisis,
Adolescents,
Babytalk,
Moebius,
Monks,
Kurtis Blow,
The Monochrome Set,
Black Bananas,
Frankie Knuckles,
Eric Dolphy,
Fifty Foot Hose,
Excepter,
10cc,
Marcia Griffiths,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.