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 Zimbabwe and from Bremen.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Calgary and Tokyo.
I'm losing my edge to the art-school Spokane 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Anthony Braxton to the crunk kids.
I played it at the Roxy.
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 Yaz. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Glenn Branca record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Fluxion,
The Wake,
Sunsets and Hearts,
James White and The Blacks,
Deutsch Amerikanische Freundschaft,
The Doobie Brothers,
Dorothy Ashby,
Mars,
Eden Ahbez,
Public Enemy,
The Slits,
Traffic Nightmare,
Young Marble Giants,
Eric Copeland,
Lou Reed,
Reuben Wilson,
E-Dancer,
The Doors,
Graham Central Station,
Stiv Bators,
Bronski Beat,
Yaz,
Maleditus Sound,
The Detroit Cobras,
Television,
Nation of Ulysses,
Avey Tare's Slasher Flicks,
Swell Maps,
The Dirtbombs,
Thee Headcoats,
Leonard Cohen,
Spoonie Gee,
Bootsy Collins,
Shoche,
Gang Gang Dance,
Inner City,
AZ,
The Royal Family And The Poor,
Alton Ellis,
Peter Gordon & Love of Life Orchestra,
Black Flag,
Lou Reed & John Cale,
Erasure,
The Smiths,
Barry Ungar,
JFA,
Magazine,
Clear Light,
The Toasters,
Ultravox,
China Crisis,
One Last Wish,
ABC,
Rakim,
The Birthday Party,
Warren Ellis,
PIL,
U.S. Maple,
Average White Band,
Jimmy McGriff,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.