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 Togo and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1976.
I'm losing my edge.
To all the kids in Columbus and Manchester.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Cybotron to the rap kids.
I played it at the Astoria.
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 Bang On A Can. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Scratch Acid 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Normal,
Terry Callier,
Barry Ungar,
Model 500,
Idris Muhammad,
John Lydon,
James Chance & The Contortions,
Harry Pussy,
The Moleskins,
Porter Ricks,
Siglo XX,
The Evens,
The Barracudas,
The Victims,
The Techniques,
MC5,
Fela Kuti,
the Slits,
Johnny Clarke,
Theoretical Girls,
Make Up,
Hasil Adkins,
Tres Demented,
The Electric Prunes,
Maleditus Sound,
Bob Dylan,
Kaleidoscope,
The Fuzztones,
Babytalk,
Flash Fearless,
Laurel Aitken,
Ten City,
The Five Americans,
JFA,
Barclay James Harvest,
Electric Prunes,
The Modern Lovers,
Matthew Halsall,
Ice-T,
Trumans Water,
K-Klass,
Stockholm Monsters,
Mantronix,
The Gories,
Stetsasonic,
Unwound,
Agent Orange,
Rod Modell,
Radiopuhelimet,
H. Thieme,
Can,
Ohio Players,
Lebanon Hanover,
Gang Gang Dance,
Lalann,
Heavy D & The Boyz,
D'Angelo,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.