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 Accra.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
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 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 Brick to the electroclash 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 The Grass Roots. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Isaac Hayes,
Crispian St. Peters,
Funkadelic,
Bobby Sherman,
Slick Rick,
Camberwell Now,
Qualms,
Minny Pops,
Negative Approach,
David Axelrod,
Albert Ayler,
Magazine,
Altered Images,
Audionom,
Ludus,
Guru Guru,
the Association,
Jeru the Damaja,
Minutemen,
The Fortunes,
The Velvet Underground,
Electric Prunes,
Al Stewart,
The Alarm Clocks,
Eric Copeland,
Super Lover Cee & Casanova Rud,
the Fania All-Stars,
Tim Buckley,
Circle Jerks,
Eden Ahbez,
Mr. Review,
Man Parrish,
Gang of Four,
Shoche,
Duran Duran,
Hardrive,
Grauzone,
Nick Fraelich,
Suburban Knight,
Johnny Osbourne,
Banda Bassotti,
Marmalade,
The Misunderstood,
the Normal,
Quantec,
Gary Puckett & The Union Gap,
Anthony Braxton,
The Gun Club,
Eli Mardock,
The Seeds,
Bizarre Inc.,
Bad Manners,
The Skatalites,
Lou Reed & Metallica,
Howard Jones,
The Wake,
T. Rex,
Pussy Galore,
Janne Schatter,
Japan, Japan, Japan, Japan.
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.