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 Samoa and from Mumbai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Toronto and Accra.
I'm losing my edge to the art-school Edmonton 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 marimba sounds with much patience.
I was there when David Bowie 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 Cecil Taylor to the electroclash kids.
I played it at the 40 Watt.
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 Hot Snakes. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal rap 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
James Chance & The Contortions,
Barrington Levy,
Albert Ayler,
Masters at Work,
Jandek,
The Kinks,
The Wake,
Yellowson,
Tom Boy,
Throbbing Gristle,
ABBA,
Tommy Roe,
Marshall Jefferson,
The Residents,
Dual Sessions,
The Golliwogs,
Adolescents,
DJ Sneak,
Brothers Johnson,
Captain Beefheart & His Magic Band,
June Days,
The Blackbyrds,
These Immortal Souls,
MC5,
The American Breed,
Idris Muhammad,
Fluxion,
Public Enemy,
Richard Hell and the Voidoids,
Sun City Girls,
Urselle,
The Flesh Eaters,
Byron Stingily,
Rufus Thomas,
Red Lorry Yellow Lorry,
Röyhkä ja Rättö ja Lehtisalo,
Swans,
Von Mondo,
The Index,
Pantaleimon,
Gang Green,
Mission of Burma,
The Dirtbombs,
cv313,
Sound Behaviour,
Lou Reed,
Camouflage,
Pulsallama,
Ituana,
Max Romeo,
Yaz,
Grandmaster Flash and the Furious Five,
Sun Ra,
Marc Almond,
Louis and Bebe Barron,
Popol Vuh,
Suburban Knight,
Ultimate Spinach,
Crime,
Mr. Review,
Malaria!,
Unwound, Unwound, Unwound, Unwound.
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.