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 Norway and from Philadelphia.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Toronto 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Wally Richardson to the grunge kids.
I played it at Cafe Wha.
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 Lee Hazlewood. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
The Skatalites,
Leonard Cohen,
Jacques Brel,
Dark Day,
The Velvet Underground,
Eden Ahbez,
The Walker Brothers,
Talk Talk,
The Sound,
ABC,
Rhythm & Sound,
Gong,
Pharaoh Sanders and the Fire Engines,
Rod Modell,
Intrusion,
Pere Ubu,
Tropical Tobacco,
Chris & Cosey,
Gary Puckett & The Union Gap,
The Names,
Barclay James Harvest,
The Raincoats,
The Wake,
Barry Ungar,
Gabor Szabo,
Piero Umiliani,
Idris Muhammad,
Camouflage,
Sexual Harrassment,
Flipper,
Traffic Nightmare,
Scratch Acid,
Sam Rivers,
Lou Reed,
Quantec,
The Monks,
Connie Case,
Soulsonic Force,
Brick,
Stiv Bators,
Maleditus Sound,
Public Enemy,
The Count Five,
The Peanut Butter Conspiracy,
Big Daddy Kane,
Erykah Badu,
Chris Corsano,
Josef K,
Metal Thangz,
AZ,
The Last Poets,
Johnny Clarke,
Lower 48,
Wasted Youth,
Gil Scott-Heron & Brian Jackson,
48th St. Collective,
The Motions,
Lee Hazlewood,
cv313,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.