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 Armenia and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Spokane 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 1968 at the first Can practice in a loft in Cologne.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Big Daddy Kane to the funk 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 Golliwogs. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Yaz,
The Moleskins,
Silicon Teens,
Magma,
E-Dancer,
Piero Umiliani,
Swell Maps,
cv313,
Motorama,
Ash Ra Tempel,
Lonnie Liston Smith,
Livin' Joy,
The West Coast Pop Art Experimental Band,
One Last Wish,
The Raincoats,
Nation of Ulysses,
Throbbing Gristle,
Severed Heads,
Alison Limerick,
Terrestrial Tones,
Youth Brigade,
Pussy Galore,
Chris & Cosey,
Agitation Free,
Lebanon Hanover,
Nick Fraelich,
Talk Talk,
Rod Modell,
Delon & Dalcan,
Joe Smooth,
Dennis Brown,
Crime,
Carl Craig,
Deadbeat,
Eli Mardock,
Trumans Water,
Crooked Eye,
Lyres,
Japan,
The Real Kids,
The Mojo Men,
Eve St. Jones,
Banda Bassotti,
The Slackers,
Danielle Patucci,
Gian Franco Pienzio,
Joe Finger,
Dawn Penn,
Grandmaster Flash,
Super Lover Cee & Casanova Rud,
Kool G Rap & DJ Polo,
Icehouse,
David Axelrod,
Boz Scaggs,
Glambeats Corp.,
The Residents,
The Monks,
Robert Görl,
The Sonics,
the Soft Cell,
Agent Orange,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.