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 Spain and from Seoul.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Edmonton.
I'm losing my edge to the art-school Glasgow 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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 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 The Saints to the grime 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 The Toasters. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
The Men They Couldn't Hang,
Gil Scott Heron,
Basic Channel,
Kas Product,
Röyhkä ja Rättö ja Lehtisalo,
Eric B and Rakim,
Brand Nubian,
Slave,
Lee Hazlewood,
Negative Approach,
Bauhaus,
Rekid,
Lizzy Mercier Descloux,
Severed Heads,
Eric Copeland,
David Bowie,
Eve St. Jones,
Erykah Badu,
Erasure,
Glenn Branca,
The Count Five,
The Dirtbombs,
Electric Light Orchestra,
Ituana,
Terrestrial Tones,
Byron Stingily,
Iggy Pop,
Skarface,
Average White Band,
Adolescents,
The American Breed,
Oppenheimer Analysis,
Strawberry Alarm Clock,
Los Fastidios,
The Modern Lovers,
Amon Düül II,
Archie Shepp,
Althea and Donna,
Gerry Rafferty,
Roxette,
Alison Limerick,
Suicide,
Country Joe & The Fish,
the Swans,
The Mummies,
Bill Near,
Zero Boys,
Wasted Youth,
Carl Craig,
Major Organ And The Adding Machine,
La Düsseldorf,
Fear,
Tommy Roe,
Siglo XX,
K-Klass,
AZ,
David Axelrod,
Blancmange,
Nik Kershaw,
Urselle,
Ten City,
The Victims,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.