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 Iceland and from Tokyo.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Calgary and Shanghai.
I'm losing my edge to the art-school Glasgow 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 marimba 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 Drive Like Jehu to the jazz kids.
I played it at CBGB's.
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 Dennis Brown. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
The Pop Group,
The J.B.'s,
The Litter,
Susan Cadogan,
Half Japanese,
Minor Threat,
Brick,
Alison Limerick,
The Slackers,
Ponytail,
Teenage Jesus and the Jerks,
Echospace,
Robert Wyatt,
Lou Reed & John Cale,
The New Christs,
The Invisible,
Ash Ra Tempel,
Camron Feat. Memphis Bleek And Beenie Seigel,
DNA,
Don Cherry,
Man Parrish,
Eric Copeland,
Vladislav Delay,
Tropical Tobacco,
Deakin,
Agitation Free,
Sister Nancy,
Marine Girls,
New Age Steppers,
Gian Franco Pienzio,
Popol Vuh,
Big Daddy Kane,
The Flesh Eaters,
Bobby Hutcherson,
Radio Birdman,
Siglo XX,
Justin Hinds & The Dominoes,
Richard Hell and the Voidoids,
Minnie Riperton,
Andrew Ashong & Theo Parrish,
Soft Cell,
Boredoms,
Wally Richardson,
Little Man,
Joe Smooth,
Wire,
The Red Krayola,
Shuggie Otis,
Louis and Bebe Barron,
The Moleskins,
Gabor Szabo,
X-101,
Donald Byrd,
Sun Ra Arkestra,
Severed Heads,
Niagra,
Deutsch Amerikanische Freundschaft,
Swell Maps,
Mark Hollis,
Robert Görl,
The Move,
L. Decosne,
Lou Christie,
The Evens, The Evens, The Evens, The Evens.
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.