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 Brunei and from Bremen.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Taipei.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the sitar 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 Rowland S Howard / Lydia Lunch to the rock 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 MDC. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every The Red Krayola 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Urselle,
Deepchord,
The Invisible,
Andrew Hill,
Avey Tare & Kría Brekkan,
Pierre Henry,
London Community Gospel Choir,
AZ,
Skarface,
Man Eating Sloth,
Junior Murvin,
Gang Starr,
D'Angelo,
Hasil Adkins,
Oblivians,
Heavy D & The Boyz,
Marvin Gaye,
The Gap Band,
The Dave Clark Five,
Susan Cadogan,
Con Funk Shun,
Orchestral Manoeuvres in the Dark,
The Human League,
Leonard Cohen,
Yaz,
The Count Five,
China Crisis,
Moss Icon,
Iggy Pop,
Inner City,
10cc,
Soul II Soul,
Mark Hollis,
Qualms,
Nils Olav,
Make Up,
Pere Ubu,
Yellowson,
Groovy Waters,
The Residents,
New Age Steppers,
The Barracudas,
Alison Limerick,
John Foxx,
Buzzcocks,
Symarip,
Black Sheep,
Dead Boys,
Zero Boys,
The Skatalites,
The Victims,
Cameo,
Rotary Connection,
Oppenheimer Analysis,
Ornette Coleman,
Blancmange,
Traffic Nightmare,
The Dead C,
Dorothy Ashby,
Sticky Fingaz feat. Raekwon,
Gil Scott-Heron & Brian Jackson,
Flipper, Flipper, Flipper, Flipper.
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.