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 Kyrgyzstan and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 clarinet 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 Althea and Donna to the rock 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 B.T. Express. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
The Doors,
Sixth Finger,
The Electric Prunes,
Panda Bear,
Essential Logic,
Charles Mingus,
Ultimate Spinach,
the Bar-Kays,
Black Flag,
48th St. Collective,
Hashim,
Albert Ayler,
Minnie Riperton,
Marmalade,
T.S.O.L.,
Qualms,
Dark Day,
Reagan Youth,
U.S. Maple,
Magma,
Andrew Ashong & Theo Parrish,
Fifty Foot Hose,
the Germs,
The Mummies,
KRS-One,
Von Mondo,
The Beau Brummels,
The Happenings,
Lou Reed & Metallica,
Boredoms,
The Cosmic Jokers,
Bad Manners,
Clear Light,
Andrew Hill,
Au Pairs,
Barrington Levy,
Delta 5,
The Cramps,
Cabaret Voltaire,
Rhythm & Sound,
The Neon Judgement,
Eddi Front,
A Certain Ratio,
Sun Ra Arkestra,
Sun City Girls,
the Human League,
Avey Tare & Kría Brekkan,
Agent Orange,
Grandmaster Flash and the Furious Five,
Subhumans,
Ossler,
Schoolly D,
the Swans,
Joensuu 1685,
Dawn Penn,
Cluster,
Second Layer,
The Motions,
Joey Negro,
Donald Byrd,
Lindisfarne,
Ituana, Ituana, Ituana, Ituana.
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.