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 Spokane.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Bremen and Houston.
I'm losing my edge to the art-school Cairo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Man Parrish to the techno 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 Rosa Yemen. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
The Cramps,
Kango’s Stein Massive,
Model 500,
Grauzone,
Rekid,
Peter & Gordon,
Jesper Dahlbäck,
Barry Ungar,
Tropical Tobacco,
Kings Of Tomorrow,
Scott Walker,
Pet Shop Boys,
Avey Tare,
The Move,
One Last Wish,
Minutemen,
Can,
Severed Heads,
Erykah Badu,
Sun City Girls,
Skarface,
Terror Squad Feat. Camron,
Mark Hollis,
Robert Wyatt,
Kenny Larkin,
CMW,
Maurizio,
The Monochrome Set,
The Walker Brothers,
Cameo,
Stetsasonic,
Robert Hood,
Judy Mowatt,
Franke,
Bang On A Can,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Roxy Music,
Röyhkä ja Rättö ja Lehtisalo,
Index,
Audionom,
The Seeds,
Aaron Thompson,
DNA,
Reagan Youth,
Public Image Ltd.,
David Axelrod,
Notorious Big And Bone Thugs,
Bootsy's Rubber Band,
Niagra,
The Chocolate Watch Band,
Charles Mingus,
Ken Boothe,
Radio Birdman,
Bobby Hutcherson,
Darondo,
Excepter,
Los Fastidios,
Avey Tare & Kría Brekkan,
Ajijia Myrayebe,
Nas, Nas, Nas, Nas.
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.