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 Suriname and from Columbus.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the clarinet 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 Bang On A Can to the rock 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 Stockholm Monsters. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Gang Starr 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Index record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Michelle Simonal,
Amon Düül II,
Soulsonic Force,
The Techniques,
Brand Nubian,
The American Breed,
Lakeside,
The Slits,
Colin Newman,
Danielle Patucci,
Brothers Johnson,
Leonard Cohen,
Anakelly,
Rhythm & Sound,
DeepChord presents Echospace,
E-Dancer,
Qualms,
Camron Feat. Jay Z And Juelz,
Archie Shepp,
Soft Machine,
Rosa Yemen,
The Divine Comedy,
Albert Ayler,
Matthew Halsall,
Connie Case,
Charles Mingus,
The Remains,
8 Eyed Spy,
Pagans,
The Flesh Eaters,
Crispy Ambulance,
Zero Boys,
The Knickerbockers,
Yaz,
The Red Krayola,
Andrew Ashong & Theo Parrish,
Barclay James Harvest,
Chris Corsano,
The Fugs,
Kango’s Stein Massive,
Kerri Chandler,
Angels of Light & Akron/Family,
Deutsch Amerikanische Freundschaft,
The Associates,
Gabor Szabo,
The Vogues,
Beasts of Bourbon,
Suburban Knight,
Lee Hazlewood,
The Zeros,
Mary Jane Girls,
Thompson Twins,
In Retrospect,
Pharoah Sanders,
Delta 5,
Joensuu 1685,
The Cowsills,
Clear Light,
OOIOO,
Althea and Donna,
Nils Olav,
Goldenarms,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.