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 Zimbabwe and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Philadelphia 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 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 The Standells 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 Dorothy Ashby. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Moss Icon,
Röyhkä ja Rättö ja Lehtisalo,
Albert Ayler,
Danielle Patucci,
Second Layer,
DJ Sneak,
Gang Green,
Soul II Soul,
Pete Rock & C.L. Smooth,
The Cramps,
Bobby Sherman,
Gil Scott Heron,
Mars,
The Toasters,
Ornette Coleman,
The Red Krayola,
Bush Tetras,
The West Coast Pop Art Experimental Band,
Minnie Riperton,
Jeff Mills,
The Offenders,
Pantytec,
Interpol,
Clear Light,
Eyeless In Gaza,
John Cale,
De La Soul & Jungle Brothers,
Skaos,
Captain Beefheart & His Magic Band,
The Mighty Diamonds,
Agitation Free,
Jesper Dahlback,
Masters at Work,
Lebanon Hanover,
The Victims,
Tears for Fears,
Faraquet,
Cecil Taylor,
Camron Feat. Memphis Bleek And Beenie Seigel,
Arab on Radar,
Motorama,
Rahsaan Roland Kirk,
R.M.O.,
Swell Maps,
Eden Ahbez,
Max Romeo,
The Cowsills,
Letta Mbulu,
Tubeway Army,
Monolake,
Shoche,
ABBA,
Alphaville,
Avey Tare,
Neu!,
Gil Scott-Heron & Brian Jackson,
Eric B and Rakim,
Tom Boy,
Alison Limerick,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.