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 Cape Verde and from Manila.
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 1978.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Bremen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Lafayette Afro Rock Band to the grunge 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 The Busters. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every the Fania All-Stars 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Red Lorry Yellow Lorry,
Boredoms,
AZ,
Alice Coltrane,
Slick Rick,
Marshall Jefferson,
Grandmaster Flash and the Furious Five,
The Saints,
Quadrant,
The Toasters,
Amon Düül,
Swans,
Alison Limerick,
Rhythim Is Rhythim,
Marmalade,
Matthew Bourne,
Terry Callier,
Sound Behaviour,
The Detroit Cobras,
Louis and Bebe Barron,
Sly & The Family Stone,
JFA,
Cameo,
Wasted Youth,
The Divine Comedy,
The Gories,
The Shadows of Knight,
Essential Logic,
Cluster,
Das Ding,
Fad Gadget,
The Residents,
Ponytail,
The Slits,
Robert Hood,
Sexual Harrassment,
The Alarm Clocks,
Nico,
Nik Kershaw,
Kool Moe Dee,
R.M.O.,
Orchestral Manoeuvres in the Dark,
Notorious BIG live in Amsterdam,
Tropical Tobacco,
Kool G Rap & DJ Polo,
Liliput,
Beasts of Bourbon,
Rhythm & Sound,
Maurizio,
Drive Like Jehu,
K-Klass,
Ten City,
The Blackbyrds,
Public Image Ltd.,
Juan Atkins,
Charles Mingus,
June Days,
Delon & Dalcan,
Robert Görl,
Minnie Riperton,
The Stooges,
Goldenarms, Goldenarms, Goldenarms, Goldenarms.
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.