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 Trinidad & Tobago and from Seoul.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Cairo 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 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 Sam Rivers to the techno kids.
I played it at the Astoria.
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 Stereo Dub. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
The Pretty Things,
Bootsy Collins,
UT,
MC5,
Dual Sessions,
Henry Cow,
Harpers Bizarre,
The Gories,
Mark Hollis,
Janne Schatter,
Q65,
Can,
Stockholm Monsters,
Harmonia,
Soulsonic Force,
Symarip,
Ten City,
Parry Music,
The Walker Brothers,
FM Einheit,
Half Japanese,
Crispy Ambulance,
Cluster,
Public Image Ltd.,
Gong,
Captain Beefheart & His Magic Band,
Brick,
The Angels of Light,
The Beau Brummels,
Red Lorry Yellow Lorry,
John Cale,
Bluetip,
Sad Lovers and Giants,
Bang on a Can All-Stars,
Jerry's Kids,
Brass Construction,
Marc Almond,
T. Rex,
John Lydon,
One Last Wish,
Aloha Tigers,
Pylon,
Lightning Bolt,
Gang Gang Dance,
Röyhkä ja Rättö ja Lehtisalo,
The Associates,
De La Soul & Jungle Brothers,
Andrew Hill,
Guru Guru,
Depeche Mode,
Letta Mbulu,
Swans,
James Chance & The Contortions,
Aural Exciters,
The Searchers,
Wasted Youth,
Radiohead,
Smog,
Nils Olav,
Wighnomy Brothers & Robag Wruhme,
China Crisis,
The Trojans, The Trojans, The Trojans, The Trojans.
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.