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 South Africa and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Columbus and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Zapp practice in a loft in Hamilton.
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 The Mighty Diamonds to the disco 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 Bang On A Can. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Girls At Our Best! 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The New Christs record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Gang Gang Dance,
The Sonics,
Crash Course in Science,
The Martian,
The Raincoats,
Jesper Dahlbäck,
The Litter,
David Axelrod,
Bill Wells,
The Offenders,
Rahsaan Roland Kirk,
Juan Atkins,
The Fall,
Panda Bear,
Infiniti,
Eric Copeland,
Audionom,
Nils Olav,
Strawberry Alarm Clock,
Masters at Work,
Man Parrish,
Bobby Womack,
Arthur Verocai,
ABC,
Avey Tare's Slasher Flicks,
Minny Pops,
Marcia Griffiths,
Kool Moe Dee,
Janne Schatter,
Mary Jane Girls,
Spandau Ballet,
Depeche Mode,
Circle Jerks,
Essential Logic,
Young Marble Giants,
Bootsy Collins,
Johnny Osbourne,
Lou Christie,
Urselle,
Gang Green,
Siouxsie and the Banshees,
The Victims,
Sun City Girls,
Byron Stingily,
Dawn Penn,
Richard Hell and the Voidoids,
the Fania All-Stars,
Ultimate Spinach,
Barclay James Harvest,
The Stooges,
Lakeside,
the Sonics,
Sugar Minott,
Dr. Dre and Snoop Doggy Dog,
Boz Scaggs,
Electric Light Orchestra,
Selector Dub Narcotic,
The Music Machine,
Kango’s Stein Massive,
Sixth Finger,
Kerri Chandler,
The Electric Prunes,
UT, UT, UT, UT.
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.