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 Tanzania and from Accra.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Lille 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin 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 Byron Stingily to the disco 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 Subhumans. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Brass Construction 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 Cecil Taylor record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
Oneida,
Shoche,
Pierre Henry,
Bobby Womack,
Sticky Fingaz feat. Raekwon,
Mad Mike,
Lightning Bolt,
B.T. Express,
Lee Hazlewood,
Anakelly,
Deutsch Amerikanische Freundschaft,
The Selecter,
Jimmy McGriff,
Lyres,
Cheater Slicks,
Sister Nancy,
Barry Ungar,
Amon Düül II,
Be Bop Deluxe,
Sun City Girls,
Kauko Röyhkä ja Narttu,
Second Layer,
Nils Olav,
Kool G Rap & DJ Polo,
48th St. Collective,
Lou Reed & Metallica,
Hardrive,
Michelle Simonal,
Louis and Bebe Barron,
The Skatalites,
Duran Duran,
The Raincoats,
Peter & Gordon,
Ken Boothe,
The Golliwogs,
World's Most,
The Moody Blues,
Mission of Burma,
Black Sheep,
Bootsy Collins,
Gian Franco Pienzio,
Derrick Morgan,
Marc Romboy vs. Booka Shade,
Delon & Dalcan,
Average White Band,
Pete Rock & C.L. Smooth,
Gong,
De La Soul & Jungle Brothers,
The Durutti Column,
Royal Trux,
The Gories,
Pharaoh Sanders and the Fire Engines,
Desert Stars,
Sun Ra Arkestra,
Girls At Our Best!,
The Dead C,
Dorothy Ashby,
Andrew Hill,
Hasil Adkins,
Ituana, Ituana, Ituana, Ituana.
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.