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 Belarus and from New York.
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 1977.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Madrid 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 guitar 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 The Techniques to the rap 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 Graham Central Station. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Gabor Szabo 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
X-102,
Con Funk Shun,
Colin Newman,
The Walker Brothers,
The Mighty Diamonds,
Lou Reed & Metallica,
Black Bananas,
Heavy D & The Boyz,
the Fania All-Stars,
Gichy Dan,
Pet Shop Boys,
the Normal,
Deakin,
The Fuzztones,
Average White Band,
Sly & The Family Stone,
Blossom Toes,
Tommy Roe,
Nils Olav,
Chrome,
Bobby Byrd,
The Human League,
Kayak,
Davy DMX,
Wighnomy Brothers & Robag Wruhme,
Ornette Coleman,
Kaleidoscope,
Erasure,
The Tremeloes,
The Trojans,
Lou Reed,
Adolescents,
B.T. Express,
Sexual Harrassment,
Graham Central Station,
Pussy Galore,
David Bowie,
The Smiths,
Henry Cow,
Radio Birdman,
Eric B and Rakim,
KRS-One,
Los Fastidios,
Barbara Tucker,
Faraquet,
Andrew Hill,
Sparks,
Radiohead,
Manfred Mann's Earth Band,
The Names,
The Moleskins,
Carl Craig,
the Swans,
Agitation Free,
Peter & Gordon,
Shuggie Otis,
Lonnie Liston Smith,
Sister Nancy,
Ultramagnetic MC's,
June of 44,
Popol Vuh,
Don Cherry,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.