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 Lebanon and from Salvador.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Portland and Jakarta.
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 rhodes sounds with much patience.
I was there when Lou Reed 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 The Standells to the grunge 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 John Coltrane. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Eden Ahbez,
Sonny Sharrock,
The Slits,
Technova,
Faust,
Index,
Metal Thangz,
Brothers Johnson,
Scan 7,
Curtis Mayfield,
New York Dolls,
MDC,
Moss Icon,
Rowland S Howard / Lydia Lunch,
Roy Ayers,
Lyres,
The Music Machine,
the Bar-Kays,
The Mummies,
Public Image Ltd.,
Morten Harket,
Flamin' Groovies,
The Fall,
Johnny Osbourne,
The West Coast Pop Art Experimental Band,
Tomorrow,
Glenn Branca,
Barclay James Harvest,
Ituana,
Quadrant,
Gregory Isaacs,
The Mojo Men,
The Neon Judgement,
The Birthday Party,
The Cosmic Jokers,
Bootsy Collins,
EPMD,
Soft Machine,
Alton Ellis,
The Divine Comedy,
Joe Smooth,
Jawbox,
Nick Cave & The Bad Seeds,
Essential Logic,
T. Rex,
Cheater Slicks,
Bill Wells,
U.S. Maple,
Television,
Shuggie Otis,
Susan Cadogan,
Drexciya,
Don Cherry,
Gabor Szabo,
Kurtis Blow,
Inner City,
Charles Mingus,
Lungfish,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.