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 Cape Verde and from Sao Paulo.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Milan and Milan.
I'm losing my edge to the art-school Shanghai 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 Tom Verlaine 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 Bluetip to the dance kids.
I played it at CBGB's.
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 Public Enemy. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Fat Boys,
Amazonics,
A Certain Ratio,
This Heat,
U.S. Maple,
Siglo XX,
The Dave Clark Five,
Kings Of Tomorrow,
Peter and Kerry,
Eli Mardock,
Boredoms,
Mars,
Half Japanese,
Charles Mingus,
Agitation Free,
Kenny Larkin,
Rosa Yemen,
Yaz,
Pharaoh Sanders and the Fire Engines,
Kerri Chandler,
Lou Christie,
Susan Cadogan,
Eric Copeland,
Technova,
Kaleidoscope,
Second Layer,
Blancmange,
Nils Olav,
Accadde A,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gun Club,
Qualms,
Gang Green,
The Peanut Butter Conspiracy,
Au Pairs,
Lakeside,
Aswad,
Althea and Donna,
Parry Music,
Kauko Röyhkä ja Narttu,
Bad Manners,
Saccharine Trust,
Frankie Knuckles,
Supertramp,
Babytalk,
Dark Day,
Reuben Wilson,
OOIOO,
Pagans,
Wolf Eyes,
The Beau Brummels,
The Techniques,
Freddie Wadling,
Junior Murvin,
Lou Reed & John Cale,
Todd Terry,
Outsiders,
Severed Heads,
Flamin' Groovies,
Rapeman,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.