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 Tuvalu and from Cairo.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Detroit Cobras 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 The Fugs. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Mark Hollis 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Animal Collective record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Eric Dolphy,
Roy Ayers,
Mad Mike,
Louis and Bebe Barron,
Girls At Our Best!,
Index,
Boz Scaggs,
E-Dancer,
The Dave Clark Five,
Reagan Youth,
Terry Callier,
Be Bop Deluxe,
Circle Jerks,
Bobby Sherman,
Neu!,
Scott Walker,
Arab on Radar,
Bobby Womack,
Maurizio,
The Zeros,
H. Thieme,
Scratch Acid,
The Remains,
Interpol,
Marine Girls,
Ten City,
The Fall,
The Sonics,
Desert Stars,
Sunsets and Hearts,
Rotary Connection,
Mars,
Joyce Sims,
The Flesh Eaters,
Altered Images,
John Holt,
John Cale,
The J.B.'s,
Todd Terry,
Ice-T,
Manfred Mann's Earth Band,
the Bar-Kays,
Jerry Gold Smith,
Au Pairs,
Nick Cave & The Bad Seeds,
Aswad,
The Happenings,
Lee Hazlewood,
Marcia Griffiths,
Heavy D & The Boyz,
Sällskapet,
Dead Boys,
The Litter,
Sixth Finger,
The Victims,
The Blues Magoos,
The West Coast Pop Art Experimental Band,
The Cramps,
Nirvana, Nirvana, Nirvana, Nirvana.
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.