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 Panama and from Taipei.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Columbus and Bremen.
I'm losing my edge to the art-school Houston 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Blancmange 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 Con Funk Shun. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Unrelated Segments 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Don Cherry record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
These Immortal Souls,
John Cale,
The Music Machine,
Big Daddy Kane,
Leonard Cohen,
Alton Ellis,
Wire,
Camouflage,
Boredoms,
Fort Wilson Riot,
Eric Copeland,
David McCallum,
Public Enemy,
The Birthday Party,
The Five Americans,
Masters at Work,
Bob Dylan,
Lalann,
John Foxx,
Rekid,
Crooked Eye,
Scrapy,
Sällskapet,
Eden Ahbez,
A Certain Ratio,
Suicide,
The Gladiators,
Lalo Schifrin,
Erasure,
The Trojans,
Main Source,
Derrick Morgan,
Das Ding,
Orchestral Manoeuvres in the Dark,
Maurizio,
Lower 48,
Soft Cell,
Graham Central Station,
Bobby Womack,
UT,
The Count Five,
Brick,
Robert Wyatt,
Roger Hodgson,
Todd Terry,
Bill Wells,
Avey Tare,
Moby Grape,
Unwound,
Godley & Creme,
Public Image Ltd.,
The Fortunes,
Sun City Girls,
Lou Christie,
The Shadows of Knight,
Saccharine Trust,
Eurythmics,
Model 500,
PIL,
Bang on a Can All-Stars,
Index,
Oblivians, Oblivians, Oblivians, Oblivians.
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.