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 Peru and from Manila.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Delhi 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet 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 Flash Fearless to the funk kids.
I played it at the Astoria.
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 Sun Ra Arkestra. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Mark Hollis,
Rahsaan Roland Kirk,
Spandau Ballet,
Brand Nubian,
Scion,
Lightning Bolt,
Arab on Radar,
Fela Kuti,
Tim Buckley,
The Neon Judgement,
Major Organ And The Adding Machine,
June Days,
Sun Ra Arkestra,
Shuggie Otis,
Japan,
The Cramps,
Howard Jones,
De La Soul & Jungle Brothers,
The Gun Club,
Ultimate Spinach,
Wings,
Rowland S Howard / Lydia Lunch,
Nick Fraelich,
Electric Prunes,
The Detroit Cobras,
FM Einheit,
Intrusion,
Roy Ayers,
Dead Boys,
Sunsets and Hearts,
Porter Ricks,
Robert Görl,
Wasted Youth,
Underground Resistance,
The Gap Band,
Easy Going,
The Fuzztones,
Anthony Braxton,
Bluetip,
Camron Feat. Memphis Bleek And Beenie Seigel,
Los Fastidios,
Terrestrial Tones,
Eric Dolphy,
Bush Tetras,
Siouxsie and the Banshees,
Banda Bassotti,
Sun Ra,
John Cale,
The West Coast Pop Art Experimental Band,
Absolute Body Control,
48th St. Collective,
Camouflage,
Young Marble Giants,
Hasil Adkins,
Black Moon,
Marmalade,
Robert Wyatt,
Alice Coltrane,
World's Most,
The Chocolate Watch Band,
Connie Case, Connie Case, Connie Case, Connie Case.
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.