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 Ghana and from Portland.
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 1969 to 1970.
I'm losing my edge.
To all the kids in London and Tokyo.
I'm losing my edge to the art-school Stockholm 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Bang On A Can to the punk 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 The Offenders. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Cecil Taylor 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 '60s 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 Technova record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Drexciya,
the Soft Cell,
Lyres,
Kool G Rap & DJ Polo,
Andrew Ashong & Theo Parrish,
Can,
Echospace,
The Peanut Butter Conspiracy,
The Invisible,
Fear,
Severed Heads,
Michelle Simonal,
Liaisons Dangereuses,
Bluetip,
Liliput,
Kerrie Biddell,
Grandmaster Flash,
Zero Boys,
Hasil Adkins,
Lonnie Liston Smith,
Yusef Lateef,
Pulsallama,
Harry Pussy,
Wolf Eyes,
Sonic Youth,
Sister Nancy,
Shuggie Otis,
Glenn Branca,
The Mighty Diamonds,
The West Coast Pop Art Experimental Band,
Sällskapet,
The Fuzztones,
Hardrive,
The Standells,
The Offenders,
The Fortunes,
Eric Dolphy,
Jawbox,
The Sound,
Royal Trux,
Rod Modell,
Henry Cow,
Japan,
Curtis Mayfield,
Nick Fraelich,
the Fania All-Stars,
Jandek,
The Alarm Clocks,
Oblivians,
Barry Ungar,
Minny Pops,
The Gladiators,
Albert Ayler,
Wasted Youth,
Crispy Ambulance,
Cecil Taylor,
Radiopuhelimet,
Al Stewart,
Smog, Smog, Smog, Smog.
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.