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 Russia and from Lille.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Jakarta 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 2001 at the first Tiga practice in a loft in Montreal.
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 Ralphi Rosario to the rock kids.
I played it at the Spitz.
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 Bizarre Inc.. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
The Toasters,
Andrew Hill,
The West Coast Pop Art Experimental Band,
Oppenheimer Analysis,
Newcleus,
Leonard Cohen,
Cecil Taylor,
Brick,
The Shadows of Knight,
Technova,
The Dead C,
John Lydon,
Beasts of Bourbon,
Lou Reed & John Cale,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
This Heat,
Graham Central Station,
Soft Cell,
Godley & Creme,
PIL,
Grandmaster Flash and the Furious Five,
Mo-Dettes,
Lightning Bolt,
Mr. Review,
Marcia Griffiths,
Harpers Bizarre,
Delta 5,
The Index,
Clear Light,
Wighnomy Brothers & Robag Wruhme,
The Detroit Cobras,
Deepchord,
Glambeats Corp.,
Notorious Big And Bone Thugs,
Steve Hackett,
KRS-One,
The Mojo Men,
Flipper,
The Busters,
Intrusion,
Sarah Menescal,
Young Marble Giants,
Urselle,
Nils Olav,
Reuben Wilson,
Pagans,
Moss Icon,
Grauzone,
Mad Mike,
Inner City,
Johnny Clarke,
Cybotron,
Harmonia,
Kenny Larkin,
The Pretty Things,
The Slackers,
Cameo,
The Wake,
Circle Jerks,
Q65,
The Selecter,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.