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 Kosovo and from London.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Seoul and London.
I'm losing my edge to the art-school Philadelphia 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 oboe sounds with much patience.
I was there when David Bowie 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 John Cale to the funk kids.
I played it at Trash.
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 Royal Family And The Poor. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Wolf Eyes,
Harpers Bizarre,
Traffic Nightmare,
The Jesus and Mary Chain,
Amon Düül,
Duran Duran,
Tom Boy,
Absolute Body Control,
The Barracudas,
Jacob Miller,
Franke,
Symarip,
The Velvet Underground,
Lou Christie,
Royal Trux,
Pharoah Sanders,
Be Bop Deluxe,
Bronski Beat,
The Mighty Diamonds,
The Offenders,
The Associates,
Crooked Eye,
Robert Hood,
Oneida,
Morten Harket,
Gastr Del Sol,
The Trojans,
Aaron Thompson,
Bill Wells,
Electric Light Orchestra,
Saccharine Trust,
Hot Snakes,
Joe Smooth,
Loose Ends,
The Sound,
Ultramagnetic MC's,
Avey Tare & Kría Brekkan,
Andrew Hill,
This Heat,
Vladislav Delay,
Aswad,
Anakelly,
Letta Mbulu,
The Red Krayola,
Fear,
Rhythim Is Rhythim,
The New Christs,
Pole,
The Fugs,
The Modern Lovers,
China Crisis,
Erasure,
Silicon Teens,
The Raincoats,
JFA,
Jimmy McGriff,
The Young Rascals,
Kango’s Stein Massive,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jandek,
Monks,
Magazine, Magazine, Magazine, Magazine.
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.