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 Samoa and from Paris.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Spokane.
I'm losing my edge to the art-school Beijing 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 clarinet sounds with much patience.
I was there when David Bowie 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 Arcadia to the grime kids.
I played it at the Roxy.
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 Traffic Nightmare. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Motorama 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Crispian St. Peters,
Dawn Penn,
Andrew Hill,
Alison Limerick,
Zero Boys,
Pantaleimon,
Grey Daturas,
U.S. Maple,
Roy Ayers Ubiquity,
Loose Ends,
Main Source,
The Gories,
David McCallum,
Amon Düül II,
Smog,
Graham Central Station,
Sixth Finger,
The American Breed,
Nils Olav,
Siouxsie and the Banshees,
Lafayette Afro Rock Band,
Curtis Mayfield,
Japan,
Country Teasers,
David Axelrod,
Deepchord,
The Smoke,
Unwound,
Patti Smith,
Bang On A Can,
Magazine,
Livin' Joy,
Negative Approach,
Big Daddy Kane,
Mark Hollis,
Bobby Byrd,
the Association,
Whodini,
Sly & The Family Stone,
Warsaw,
Robert Wyatt,
Depeche Mode,
Cal Tjader,
Roxette,
Josef K,
Neu!,
The Alarm Clocks,
Lizzy Mercier Descloux,
Ralphi Rosario,
Barrington Levy,
Rhythm & Sound,
Fugazi,
Ice-T,
Skaos,
Johnny Osbourne,
Schoolly D,
The Flesh Eaters,
Mission of Burma,
Public Enemy,
Scott Walker + Sunn O))),
Eden Ahbez,
Bill Near,
The Men They Couldn't Hang,
The Names, The Names, The Names, The Names.
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.