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 Palau and from Madrid.
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 1974.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school London 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 1968 at the first Can practice in a loft in Cologne.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Aaron Thompson to the rap kids.
I played it at the Crocodile.
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 the Slits. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
The Monochrome Set,
the Germs,
Major Organ And The Adding Machine,
Black Moon,
Pylon,
Oppenheimer Analysis,
Davy DMX,
Liaisons Dangereuses,
The Doors,
The Techniques,
The Standells,
Magma,
L. Decosne,
Roy Ayers,
Sight & Sound,
Television,
Boogie Down Productions,
Peter and Kerry,
Throbbing Gristle,
Reagan Youth,
Gil Scott-Heron & Brian Jackson,
The Electric Prunes,
Laurel Aitken,
Black Sheep,
The Index,
Y Pants,
Soft Machine,
Marmalade,
Rosa Yemen,
the Soft Cell,
Big Daddy Kane,
Deakin,
Jeff Lynne,
The Divine Comedy,
The Slits,
De La Soul & Jungle Brothers,
Pharaoh Sanders and the Fire Engines,
Barry Ungar,
Altered Images,
Drexciya,
Carl Craig,
Amon Düül II,
Deutsch Amerikanische Freundschaft,
The Pretty Things,
Roxette,
Manfred Mann's Earth Band,
Pere Ubu,
Joy Division,
The Gladiators,
the Fania All-Stars,
Nik Kershaw,
Crooked Eye,
Franke,
Rekid,
Blancmange,
Smog,
Quadrant,
Stetsasonic,
Kool G Rap & DJ Polo,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.