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 El Salvador and from Beijing.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Bologna and Cairo.
I'm losing my edge to the art-school Taipei 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Wire to the funk kids.
I played it at the Roxy.
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 Seeds. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Terror Squad Feat. Camron record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Orchestral Manoeuvres in the Dark,
Intrusion,
The Kinks,
Bauhaus,
Shoche,
Throbbing Gristle,
Animal Collective,
DJ Style,
Derrick Morgan,
Kerrie Biddell,
Blancmange,
Angels of Light & Akron/Family,
Avey Tare & Kría Brekkan,
Peter and Kerry,
The Pretty Things,
New Order,
Dorothy Ashby,
Liaisons Dangereuses,
Gastr Del Sol,
DeepChord presents Echospace,
The Shadows of Knight,
Wally Richardson,
Yellowson,
The Misunderstood,
The Angels of Light,
Scan 7,
Absolute Body Control,
Boogie Down Productions,
Pierre Henry,
Laurel Aitken,
Howard Jones,
The Litter,
The Seeds,
Brand Nubian,
Johnny Osbourne,
Audionom,
Panda Bear,
Lou Reed & John Cale,
Kurtis Blow,
Bob Dylan,
Bronski Beat,
Lucky Dragons,
Chris & Cosey,
Byron Stingily,
Stereo Dub,
The Standells,
Arab on Radar,
The Zeros,
Sound Behaviour,
Royal Trux,
Shuggie Otis,
The Neon Judgement,
Eve St. Jones,
Au Pairs,
Symarip,
Simply Red,
Supertramp,
Depeche Mode,
Crash Course in Science,
Marshall Jefferson,
DNA,
Bill Wells,
The Evens,
The American Breed, The American Breed, The American Breed, The American Breed.
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.