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 Marshall Islands and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Spokane and Milan.
I'm losing my edge to the art-school Columbus 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Minnie Riperton to the jazz 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 Heavy D & The Boyz. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
The Blackbyrds,
Avey Tare's Slasher Flicks,
Bizarre Inc.,
Lee Hazlewood,
JFA,
the Association,
The Kinks,
the Swans,
Rapeman,
Iggy Pop,
Jimmy McGriff,
Sly & The Family Stone,
Technova,
Crispy Ambulance,
Lightning Bolt,
Bluetip,
Neil Young & Crazy Horse,
Japan,
Gil Scott Heron,
Nick Cave & The Bad Seeds,
One Last Wish,
Main Source,
The Martian,
Sex Pistols,
EPMD,
Radiopuhelimet,
Franke,
Goldenarms,
The Blues Magoos,
Max Romeo,
Sound Behaviour,
Ultravox,
Ice-T,
Young Marble Giants,
Sun Ra Arkestra,
The Real Kids,
Masters at Work,
John Coltrane,
Gian Franco Pienzio,
De La Soul & Jungle Brothers,
Siouxsie and the Banshees,
Wolf Eyes,
Wally Richardson,
Terry Callier,
The Skatalites,
The Happenings,
John Holt,
Grandmaster Flash and the Furious Five,
Black Pus,
Danielle Patucci,
Guru Guru,
Camberwell Now,
Louis and Bebe Barron,
The Electric Prunes,
Rahsaan Roland Kirk,
Laurel Aitken,
Jerry's Kids,
The Buckinghams,
Moby Grape,
Faust,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.