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 Ukraine and from Johannesburg.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Salvador and Seoul.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Easy Going to the jazz kids.
I played it at CBGB's.
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 Major Organ And The Adding Machine. All the underground hits.
All Sam Rivers 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 grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion 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?
Neil Young,
Selector Dub Narcotic,
The Buckinghams,
Brass Construction,
Kango’s Stein Massive,
Notorious BIG live in Amsterdam,
Eric Copeland,
Electric Prunes,
The Music Machine,
The American Breed,
Reuben Wilson,
Jawbox,
Procol Harum,
Porter Ricks,
Gregory Isaacs,
Judy Mowatt,
Deepchord,
Lyres,
Henry Cow,
Magazine,
The Pop Group,
The Doors,
Black Sheep,
Underground Resistance,
Todd Terry,
It's A Beautiful Day,
Nik Kershaw,
Mo-Dettes,
The Residents,
Richard Hell and the Voidoids,
Cecil Taylor,
Scratch Acid,
Amazonics,
Albert Ayler,
The Techniques,
Lou Christie,
The New Christs,
Crash Course in Science,
Circle Jerks,
Piero Umiliani,
Neil Young & Crazy Horse,
Fatback Band,
The Doobie Brothers,
Pantytec,
Patti Smith,
Matthew Bourne,
Beasts of Bourbon,
Jesper Dahlbäck,
Boogie Down Productions,
The Trojans,
New Order,
Röyhkä ja Rättö ja Lehtisalo,
June Days,
Glambeats Corp.,
Bush Tetras,
Bobby Sherman,
Marcia Griffiths,
Sex Pistols,
Freddie Wadling,
Arthur Verocai,
Ituana,
Animal Collective,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.