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 Kuwait and from Madrid.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Delhi and Sao Paulo.
I'm losing my edge to the art-school Lille 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Unwound to the funk 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 Panda Bear. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Gerry Rafferty 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lungfish,
Ken Boothe,
Tom Boy,
Marcia Griffiths,
The Neon Judgement,
The Move,
Cecil Taylor,
Funkadelic,
Rites of Spring,
Sad Lovers and Giants,
The Vogues,
Pantaleimon,
Art Ensemble Of Chicago,
Anthony Braxton,
Anakelly,
Peter & Gordon,
Wings,
Vaughan Mason & Crew,
Suicide,
The Flesh Eaters,
De La Soul & Jungle Brothers,
T. Rex,
Fifty Foot Hose,
The Evens,
Marc Almond,
Shoche,
Kool Moe Dee,
Harpers Bizarre,
Graham Central Station,
the Association,
The Jesus and Mary Chain,
Wire,
New York Dolls,
The Index,
Maleditus Sound,
Sister Nancy,
Qualms,
The Music Machine,
The West Coast Pop Art Experimental Band,
Mandrill,
Hashim,
Sun Ra,
Sticky Fingaz feat. Raekwon,
Pole,
Metal Thangz,
Arab on Radar,
The Birthday Party,
Symarip,
Amon Düül II,
Kurtis Blow,
Hot Snakes,
Don Cherry,
Reuben Wilson,
The Fugs,
Eric Copeland,
John Foxx,
The Dead C,
Donald Byrd,
Gang Gang Dance,
Magazine,
The Pop Group,
Jesper Dahlback,
The Fortunes,
X-101, X-101, X-101, X-101.
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.