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 Austria and from Glasgow.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Houston 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 oboe 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 Bang On A Can to the grime 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 Outsiders. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Terry Callier 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 '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Tom Boy,
Neil Young & Crazy Horse,
Symarip,
Sparks,
Q65,
Flipper,
Lucky Dragons,
Joey Negro,
Television,
Aural Exciters,
The Dead C,
Heavy D & The Boyz,
Laurel Aitken,
Brothers Johnson,
Marc Romboy vs. Booka Shade,
Bauhaus,
Terrestrial Tones,
Nils Olav,
Gichy Dan,
Marc Almond,
Inner City,
John Lydon,
Black Pus,
Qualms,
Echospace,
Nick Fraelich,
Ralphi Rosario,
The Selecter,
Tommy Roe,
Can,
Surgeon,
Brass Construction,
Anthony Braxton,
Suburban Knight,
Mo-Dettes,
Au Pairs,
The Fugs,
The Royal Family And The Poor,
Dead Boys,
Unrelated Segments,
Youth Brigade,
Ituana,
Soft Machine,
Eric B and Rakim,
Rites of Spring,
Kevin Saunderson,
Maurizio,
Sad Lovers and Giants,
Pagans,
The Fuzztones,
Ultravox,
Alice Coltrane,
The Residents,
Sixth Finger,
Ice-T,
Harmonia,
Letta Mbulu,
D'Angelo,
Silicon Teens,
Davy DMX,
Susan Cadogan,
Infiniti,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.