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 Israel and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1979.
I'm losing my edge.
To all the kids in London and Glasgow.
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 spring reverb 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 Shoche to the punk kids.
I played it at the 40 Watt.
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 Theoretical Girls. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
Larry & the Blue Notes,
Gabor Szabo,
Ornette Coleman,
Ice-T,
Banda Bassotti,
Rod Modell,
Orchestral Manoeuvres in the Dark,
Minnie Riperton,
Wire,
Maurizio,
Pussy Galore,
The Moleskins,
Oppenheimer Analysis,
Soul Sonic Force,
Andrew Ashong & Theo Parrish,
Judy Mowatt,
Ultravox,
Echospace,
the Swans,
Aloha Tigers,
Lee Hazlewood,
Slick Rick,
Gang Starr,
This Heat,
The Motions,
Minutemen,
Index,
Nation of Ulysses,
Byron Stingily,
World's Most,
Gregory Isaacs,
Albert Ayler,
Section 25,
Goldenarms,
Whodini,
Gian Franco Pienzio,
The Index,
Shoche,
Jerry Gold Smith,
The Birthday Party,
Heavy D & The Boyz,
EPMD,
Model 500,
John Cale,
Quantec,
John Foxx,
CMW,
Roger Hodgson,
Thee Headcoats,
Rapeman,
The Knickerbockers,
The Cramps,
Dennis Brown,
Archie Shepp,
the Normal,
The Blackbyrds,
Chrome,
Joensuu 1685,
Hoover,
the Bar-Kays,
48th St. Collective,
Captain Beefheart & His Magic Band,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.