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 Guinea-Bissau and from Lagos.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Tres Demented to the punk 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 Gang Gang Dance. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Joe Finger,
Dual Sessions,
Gang Starr,
Marmalade,
The J.B.'s,
Gil Scott Heron,
The Blackbyrds,
Yellowson,
Rekid,
Arcadia,
Teenage Jesus and the Jerks,
Iggy Pop,
CMW,
Scientists,
Angels of Light & Akron/Family,
Peter & Gordon,
Sex Pistols,
Pagans,
Gichy Dan,
Crash Course in Science,
Erasure,
Ponytail,
The Leaves,
It's A Beautiful Day,
Deakin,
Flamin' Groovies,
Neil Young & Crazy Horse,
The Names,
The Human League,
MDC,
Fifty Foot Hose,
Saccharine Trust,
Hoover,
Bang on a Can All-Stars,
Slick Rick,
Radio Birdman,
Bill Near,
The Litter,
Gil Scott-Heron & Brian Jackson,
Joe Smooth,
Roxy Music,
David Axelrod,
The Pop Group,
Eden Ahbez,
K-Klass,
Isaac Hayes,
Blossom Toes,
Neil Young,
Glenn Branca,
Cymande,
Monks,
Glambeats Corp.,
Scratch Acid,
Nick Cave & The Bad Seeds,
Reuben Wilson,
Wolf Eyes,
Skarface,
Sixth Finger,
Fatback Band,
The Sonics,
Cecil Taylor,
Procol Harum,
Mantronix, Mantronix, Mantronix, Mantronix.
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.