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 Spain and from Calgary.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Milan 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 güiro 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 Johnny Osbourne to the dance kids.
I played it at the Troubador.
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 Reuben Wilson. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Tomorrow,
Traffic Nightmare,
The Alarm Clocks,
Duran Duran,
Crispian St. Peters,
Scan 7,
Charles Mingus,
Ohio Players,
Erykah Badu,
Sandy B,
The Remains,
Bill Wells,
Barrington Levy,
The Pretty Things,
Kings Of Tomorrow,
Laurel Aitken,
Joy Division,
T.S.O.L.,
Unwound,
ABC,
Yaz,
EPMD,
Silicon Teens,
The Moleskins,
L. Decosne,
Rhythm & Sound,
Terry Callier,
Fela Kuti,
Larry & the Blue Notes,
The Mojo Men,
Beasts of Bourbon,
Mary Jane Girls,
The Wake,
Severed Heads,
Jesper Dahlback,
The United States of America,
X-Ray Spex,
Chrome,
The Music Machine,
Richard Hell and the Voidoids,
Barbara Tucker,
Aswad,
Black Bananas,
Glambeats Corp.,
Bluetip,
Barry Ungar,
The Doors,
Sonny Sharrock,
Joensuu 1685,
Average White Band,
Wings,
Jawbox,
Dave Gahan,
Youth Brigade,
Peter Gordon & Love of Life Orchestra,
Donny Hathaway,
Amon Düül,
Ice-T,
Wally Richardson,
Lee Hazlewood,
Peter and Kerry,
Y Pants,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.