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 Colombia and from Madrid.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Tehran 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 at the first Suicide practice in a loft in New York.
I was working on the harpsichord 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 The Techniques to the dance 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 Porter Ricks. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Black Bananas 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
The Durutti Column,
Electric Prunes,
Alice Coltrane,
Rhythim Is Rhythim,
Aaron Thompson,
Grandmaster Flash and the Furious Five,
The United States of America,
Young Marble Giants,
Glambeats Corp.,
The Doobie Brothers,
Althea and Donna,
X-102,
Joe Finger,
Slick Rick,
Gregory Isaacs,
Public Enemy,
The Toasters,
Johnny Clarke,
Gian Franco Pienzio,
Kauko Röyhkä ja Narttu,
Bobby Byrd,
The Knickerbockers,
Eurythmics,
Alphaville,
The Standells,
Television,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Procol Harum,
Wasted Youth,
Ronan,
Howard Jones,
UT,
Subhumans,
Harpers Bizarre,
Stockholm Monsters,
Bang on a Can All-Stars,
OOIOO,
T. Rex,
Ultimate Spinach,
Grauzone,
Wighnomy Brothers & Robag Wruhme,
Roger Hodgson,
DNA,
Robert Wyatt,
Rosa Yemen,
Metal Thangz,
Crispy Ambulance,
Sly & The Family Stone,
Das Ding,
48th St. Collective,
Ten City,
Simply Red,
Sonny Sharrock,
Captain Beefheart & His Magic Band,
Quando Quango,
Marshall Jefferson,
Rufus Thomas,
Can,
Terry Callier,
Sound Behaviour,
Deadbeat,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.