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 Italy and from Philadelphia.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Woodstock 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Youth Brigade to the rock kids.
I played it at Trash.
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 Move. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Lee Hazlewood,
Camberwell Now,
Rekid,
The Pretty Things,
Gastr Del Sol,
The Count Five,
Mandrill,
Make Up,
The Invisible,
Ronan,
Connie Case,
Gang Starr,
cv313,
Jerry's Kids,
The Martian,
The Grass Roots,
Dead Boys,
Babytalk,
Deadbeat,
Selector Dub Narcotic,
Reagan Youth,
Bootsy's Rubber Band,
Magazine,
Bootsy Collins,
Freddie Wadling,
Avey Tare & Kría Brekkan,
Accadde A,
KRS-One,
Magma,
The Stooges,
Sly & The Family Stone,
Popol Vuh,
The Velvet Underground,
Brand Nubian,
Henry Cow,
Albert Ayler,
Nick Cave & The Bad Seeds,
Ralphi Rosario,
Japan,
John Lydon,
Deutsch Amerikanische Freundschaft,
The Last Poets,
The Slits,
Ludus,
Sixth Finger,
Fear,
Kenny Larkin,
Wolf Eyes,
Talk Talk,
Big Daddy Kane,
Nik Kershaw,
Negative Approach,
Ultimate Spinach,
The Techniques,
Black Sheep,
Lightning Bolt,
The United States of America,
Notorious Big And Bone Thugs,
Warsaw,
Echo & the Bunnymen,
Thee Headcoats,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.