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 Laos and from Shanghai.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Beijing and Manila.
I'm losing my edge to the art-school Mexico City 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Sticky Fingaz feat. Raekwon to the punk 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 Dennis Brown tracks. I heard you have a vinyl of every The Five Americans 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
Larry & the Blue Notes,
John Holt,
Mandrill,
Lyres,
John Foxx,
The Durutti Column,
The Sisters of Mercy,
Ohio Players,
Monks,
Arthur Verocai,
Boredoms,
The Cosmic Jokers,
Cybotron,
Lightning Bolt,
Pylon,
The New Christs,
The Flesh Eaters,
The Saints,
Marc Romboy vs. Booka Shade,
Neil Young,
Barrington Levy,
Glambeats Corp.,
Arab on Radar,
Excepter,
Adolescents,
Pharoah Sanders,
Warsaw,
Jacob Miller,
Toni Rubio,
Guru Guru,
Derrick Morgan,
8 Eyed Spy,
Kool Moe Dee,
Eric Dolphy,
Negative Approach,
The Monochrome Set,
Ralphi Rosario,
Gabor Szabo,
Boz Scaggs,
Byron Stingily,
Suicide,
Ornette Coleman,
Fat Boys,
Kerrie Biddell,
Loose Ends,
Freddie Wadling,
Scion,
Drive Like Jehu,
Heaven 17,
Sun Ra,
Ultravox,
Tom Boy,
Gong,
Half Japanese,
The Selecter,
Ice-T,
Jacques Brel,
New York Dolls,
Nirvana,
Swans,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.