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 Algeria and from Sao Paulo.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Shanghai and New York.
I'm losing my edge to the art-school New York 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Andrew Hill to the grime 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 Eli Mardock. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal rap 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Joe Smooth,
Beasts of Bourbon,
Nick Fraelich,
The Angels of Light,
The Smiths,
Shoche,
The Remains,
Blossom Toes,
Gong,
48th St. Collective,
Dr. Dre and Snoop Doggy Dog,
The Black Dice,
F. McDonald,
Sam Rivers,
Tres Demented,
Sad Lovers and Giants,
The Young Rascals,
Lightning Bolt,
Bluetip,
Black Sheep,
Au Pairs,
Al Stewart,
Ultravox,
Symarip,
Harmonia,
Negative Approach,
The Modern Lovers,
The J.B.'s,
OOIOO,
Althea and Donna,
Michelle Simonal,
Amon Düül,
Maleditus Sound,
Silicon Teens,
Marc Romboy vs. Booka Shade,
Louis and Bebe Barron,
the Fania All-Stars,
Warren Ellis,
The Vogues,
Erykah Badu,
Jawbox,
Grauzone,
Stockholm Monsters,
Liaisons Dangereuses,
Richard Hell and the Voidoids,
The Slits,
Rosa Yemen,
Sällskapet,
Pet Shop Boys,
Slave,
Dorothy Ashby,
Eddi Front,
The Index,
Outsiders,
The Misunderstood,
Lucky Dragons,
Todd Rundgren,
Angry Samoans,
Pantaleimon,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.