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 Norway and from Lille.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Toronto 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Duran Duran to the jazz kids.
I played it at the Hacienda.
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 These Immortal Souls. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Throbbing Gristle 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 '80s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Flamin' Groovies,
Mo-Dettes,
Marmalade,
Severed Heads,
Connie Case,
The Seeds,
Sun City Girls,
KRS-One,
Anthony Braxton,
Das Ding,
Fifty Foot Hose,
Amon Düül II,
Ken Boothe,
The Invisible,
Icehouse,
the Normal,
The Martian,
John Holt,
Donald Byrd,
Byron Stingily,
Eli Mardock,
Carl Craig,
Tommy Roe,
Reagan Youth,
Pagans,
Royal Trux,
Lou Reed,
Slick Rick,
Yellowson,
Suicide,
The Vogues,
This Heat,
The Gap Band,
The Slackers,
Sexual Harrassment,
Kurtis Blow,
Camron Feat. Memphis Bleek And Beenie Seigel,
Liaisons Dangereuses,
Josef K,
China Crisis,
Nils Olav,
Dorothy Ashby,
Leonard Cohen,
The Fugs,
Boogie Down Productions,
the Sonics,
Angels of Light & Akron/Family,
Half Japanese,
H. Thieme,
Monks,
Richard Hell and the Voidoids,
Robert Wyatt,
Stiv Bators,
Minutemen,
Crash Course in Science,
The Sonics,
Shoche,
Sam Rivers,
Moby Grape,
Yazoo,
Warsaw,
Kings Of Tomorrow,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.