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 San Marino and from Madrid.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Juan Atkins to the grime kids.
I played it at the Spitz.
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 The Martian. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Half Japanese,
Ornette Coleman,
Kerrie Biddell,
Marmalade,
Sugar Minott,
Johnny Osbourne,
Ten City,
It's A Beautiful Day,
Adolescents,
Niagra,
Can,
Monolake,
Ronnie Foster,
Pharaoh Sanders and the Fire Engines,
The Fire Engines,
David Axelrod,
The Fortunes,
Trumans Water,
Scan 7,
Electric Prunes,
Bizarre Inc.,
The Residents,
Josef K,
Heavy D & The Boyz,
Massinfluence,
The Gories,
Wasted Youth,
Hot Snakes,
Camouflage,
David Bowie,
Bauhaus,
Metal Thangz,
Fear,
Sunsets and Hearts,
Shoche,
Television,
Stockholm Monsters,
Cal Tjader,
Ronan,
Harpers Bizarre,
Pete Rock & C.L. Smooth,
Aloha Tigers,
Cymande,
Warren Ellis,
Rowland S Howard / Lydia Lunch,
Sound Behaviour,
Jimmy McGriff,
The Knickerbockers,
Archie Shepp,
Scratch Acid,
Essential Logic,
Nick Fraelich,
the Swans,
Peter & Gordon,
The Standells,
Zero Boys,
The Index,
Marc Romboy vs. Booka Shade,
New Age Steppers,
Parry Music, Parry Music, Parry Music, Parry Music.
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.