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 Iraq and from Delhi.
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 1969 to 1973.
I'm losing my edge.
To all the kids in New York and Beijing.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Kurtis Blow to the dance 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 Rhythim Is Rhythim. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 record on German import.
I heard that you have a white label of every seminal dance 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 an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Half Japanese,
Scott Walker,
Dr. Dre and Snoop Doggy Dog,
Funky Four + One,
Tomorrow,
Deepchord,
Kenny Larkin,
Selector Dub Narcotic,
Electric Prunes,
London Community Gospel Choir,
The Mojo Men,
Lizzy Mercier Descloux,
Scratch Acid,
The Pretty Things,
Con Funk Shun,
John Foxx,
Kango’s Stein Massive,
The Martian,
Gerry Rafferty,
The Modern Lovers,
Skaos,
Crash Course in Science,
Black Sheep,
Barry Ungar,
Jawbox,
Icehouse,
Pete Rock & C.L. Smooth,
Maleditus Sound,
Stockholm Monsters,
Wasted Youth,
Masters at Work,
Kings Of Tomorrow,
Bobbi Humphrey,
The Shadows of Knight,
Soft Machine,
Funkadelic,
The Doors,
Boogie Down Productions,
Negative Approach,
Ohio Players,
JFA,
Swans,
Idris Muhammad,
Roxette,
Roy Ayers,
Deutsch Amerikanische Freundschaft,
Thee Headcoats,
Ossler,
Reuben Wilson,
Q and Not U,
Lou Reed,
The Fuzztones,
Kurtis Blow,
H. Thieme,
Blossom Toes,
Oppenheimer Analysis,
Soft Cell,
Carl Craig,
Urselle,
FM Einheit,
Soul II Soul,
The Leaves, The Leaves, The Leaves, The Leaves.
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.