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 Hungary and from Mexico City.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Standells to the electroclash 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 the Bar-Kays. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal rock 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Harmonia record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Johnny Clarke,
the Normal,
Sad Lovers and Giants,
Duran Duran,
Minutemen,
Marmalade,
Scott Walker + Sunn O))),
Sex Pistols,
Yazoo,
The Peanut Butter Conspiracy,
Half Japanese,
The Fuzztones,
MDC,
Pylon,
Mo-Dettes,
U.S. Maple,
Jeru the Damaja,
K-Klass,
Scientists,
Pussy Galore,
Kenny Larkin,
ABC,
Dead Boys,
Be Bop Deluxe,
Michelle Simonal,
Dr. Dre and Snoop Doggy Dog,
Flash Fearless,
Boogie Down Productions,
Ronnie Foster,
This Heat,
Tommy Roe,
Pharaoh Sanders and the Fire Engines,
Bush Tetras,
The Divine Comedy,
AZ,
Can,
Gang Starr,
The Count Five,
Andrew Hill,
Barclay James Harvest,
Newcleus,
Tom Boy,
A Flock of Seagulls,
FM Einheit,
Oppenheimer Analysis,
Ultravox,
Dual Sessions,
John Lydon,
Thompson Twins,
Theoretical Girls,
Television,
the Association,
Visage,
Animal Collective,
Silicon Teens,
Bang on a Can All-Stars,
The Slackers,
Lyres,
The Raincoats,
Hasil Adkins,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.