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 Syria and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the organ 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 Schoolly D to the jazz 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 Avey Tare's Slasher Flicks. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Wally Richardson,
John Cale,
Alphaville,
Byron Stingily,
Pulsallama,
Rahsaan Roland Kirk,
Franke,
Terror Squad Feat. Camron,
Hashim,
Pere Ubu,
The Detroit Cobras,
Ituana,
Gichy Dan,
Michelle Simonal,
Minor Threat,
Flipper,
Country Joe & The Fish,
The Fire Engines,
Robert Görl,
Deadbeat,
Half Japanese,
Black Bananas,
Eyeless In Gaza,
The Doobie Brothers,
Marine Girls,
Bootsy Collins,
Suicide,
Ralphi Rosario,
Y Pants,
Johnny Clarke,
Grandmaster Flash,
Public Enemy,
Lebanon Hanover,
Ronan,
Tim Buckley,
Cal Tjader,
Fatback Band,
Al Stewart,
Masters at Work,
Todd Rundgren,
Suburban Knight,
Art Ensemble Of Chicago,
Notorious BIG live in Amsterdam,
Newcleus,
The Saints,
John Coltrane,
Drexciya,
the Association,
The Young Rascals,
The Jesus and Mary Chain,
cv313,
Sight & Sound,
Joe Smooth,
Camouflage,
Slick Rick,
Radiohead,
The Neon Judgement,
Tom Boy,
The Toasters,
Ossler,
Goldenarms,
Thompson Twins,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.