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 Colombia 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 1969 to 1971.
I'm losing my edge.
To all the kids in Spokane and Lille.
I'm losing my edge to the art-school Toronto 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Ultravox to the jazz kids.
I played it at Cafe Wha.
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 Foxx. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Desert Stars,
Joy Division,
La Düsseldorf,
Y Pants,
Joyce Sims,
The Pretty Things,
David Bowie,
Cheater Slicks,
Eli Mardock,
Hot Snakes,
Duran Duran,
Make Up,
The Fall,
Man Eating Sloth,
The Saints,
Animal Collective,
Wally Richardson,
DJ Sneak,
Clear Light,
Stockholm Monsters,
Little Man,
Q and Not U,
Circle Jerks,
Moby Grape,
The Shadows of Knight,
Traffic Nightmare,
Pere Ubu,
Aswad,
The Black Dice,
The Barracudas,
Terrestrial Tones,
Monks,
Thee Headcoats,
Grauzone,
Agent Orange,
Smog,
Barclay James Harvest,
Warsaw,
Average White Band,
Davy DMX,
Harry Pussy,
Teenage Jesus and the Jerks,
The Stooges,
Tubeway Army,
Nation of Ulysses,
Throbbing Gristle,
Panda Bear,
Massinfluence,
Albert Ayler,
Frankie Knuckles,
Parry Music,
Wasted Youth,
Gichy Dan,
Procol Harum,
Unwound,
The Knickerbockers,
Gang Gang Dance,
The Human League,
The Gories,
Quantec,
Hoover,
Buzzcocks,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.