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 Tunisia and from Calgary.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Connie Case to the rock kids.
I played it at the Troubador.
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 Music Machine. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
The Gories,
Bobby Byrd,
Michelle Simonal,
Brothers Johnson,
The Electric Prunes,
Cabaret Voltaire,
X-Ray Spex,
The Birthday Party,
Faust,
Ash Ra Tempel,
Sister Nancy,
Icehouse,
Anthony Braxton,
Rotary Connection,
Sight & Sound,
The American Breed,
Ice-T,
Bluetip,
Minor Threat,
Delon & Dalcan,
Jawbox,
Mission of Burma,
Pete Rock & C.L. Smooth,
Graham Central Station,
Curtis Mayfield,
Lakeside,
Lightning Bolt,
Patti Smith,
The Dead C,
The Evens,
Leonard Cohen,
June Days,
Grey Daturas,
The Cosmic Jokers,
Don Cherry,
The Mighty Diamonds,
Symarip,
Rites of Spring,
Colin Newman,
Boogie Down Productions,
Crash Course in Science,
Pere Ubu,
Nick Cave & The Bad Seeds,
The Modern Lovers,
Mr. Review,
Notorious Big And Bone Thugs,
Suburban Knight,
The Peanut Butter Conspiracy,
Justin Hinds & The Dominoes,
Dark Day,
Carl Craig,
Trumans Water,
Spandau Ballet,
Japan,
Bobby Hutcherson,
Ultramagnetic MC's,
Major Organ And The Adding Machine,
Bang on a Can All-Stars,
Al Stewart,
Bush Tetras,
Hasil Adkins,
The Misunderstood,
Nico, Nico, Nico, Nico.
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.