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 Guyana and from Spokane.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Madrid and Madrid.
I'm losing my edge to the art-school Portland 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 spring reverb 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 Tres Demented to the punk 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 F. McDonald. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every The Star Department 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Ornette Coleman,
Tom Boy,
Arab on Radar,
Massinfluence,
Black Bananas,
The Fugs,
Television Personalities,
De La Soul & Jungle Brothers,
Newcleus,
David Axelrod,
The Five Americans,
These Immortal Souls,
Aural Exciters,
Country Joe & The Fish,
Agent Orange,
Sam Rivers,
kango's stein massive,
Urselle,
The Neon Judgement,
Frankie Knuckles,
New Order,
The Gap Band,
Hoover,
Rakim,
Quadrant,
Radiohead,
Zapp,
Tomorrow,
Minny Pops,
Stereo Dub,
48th St. Collective,
The Wake,
Radiopuhelimet,
Kaleidoscope,
Jeff Mills,
Jeru the Damaja,
Graham Central Station,
AZ,
Beasts of Bourbon,
Simply Red,
Easy Going,
Gong,
Infiniti,
Bill Near,
The Pretty Things,
Agitation Free,
Andrew Ashong & Theo Parrish,
The J.B.'s,
Bush Tetras,
Magazine,
The Men They Couldn't Hang,
The Barracudas,
Jesper Dahlback,
Ken Boothe,
The Beau Brummels,
Khruangbin,
Public Enemy,
Arthur Verocai,
Avey Tare & Kría Brekkan,
Q65,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.