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 Vanuatu and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Accra and Philadelphia.
I'm losing my edge to the art-school Mumbai 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 güiro 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 The Sound to the dance kids.
I played it at Cafe Wha.
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 Bobby Hutcherson. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
the Human League,
New York Dolls,
Nas,
Crash Course in Science,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cameo,
Crispy Ambulance,
Sight & Sound,
Brass Construction,
Ultravox,
Mark Hollis,
Saccharine Trust,
Das Ding,
Avey Tare,
X-102,
John Cale,
The Cowsills,
Bobby Byrd,
Vaughan Mason & Crew,
Essential Logic,
Boz Scaggs,
Fela Kuti,
Tubeway Army,
Lafayette Afro Rock Band,
The Gun Club,
Junior Murvin,
Sex Pistols,
Gastr Del Sol,
The Kinks,
Aaron Thompson,
Barclay James Harvest,
Siglo XX,
The Gladiators,
T. Rex,
Sexual Harrassment,
Lonnie Liston Smith,
Dual Sessions,
Maleditus Sound,
Ralphi Rosario,
Terror Squad Feat. Camron,
Gang Green,
Joey Negro,
Todd Terry,
Don Cherry,
Sam Rivers,
The Knickerbockers,
The Blues Magoos,
Colin Newman,
Subhumans,
48th St. Collective,
Bootsy's Rubber Band,
Charles Mingus,
James White and The Blacks,
The Barracudas,
Rod Modell,
Rekid,
Unwound,
Connie Case,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.