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 Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator 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 Chris Corsano to the electroclash 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 Yellowson. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
The Skatalites,
Henry Cow,
Echospace,
The Slits,
Jeff Mills,
Isaac Hayes,
Moebius,
Camouflage,
Kings Of Tomorrow,
Q and Not U,
Sonny Sharrock,
Teenage Jesus and the Jerks,
It's A Beautiful Day,
Max Romeo,
The Kinks,
Circle Jerks,
Icehouse,
Dr. Dre and Snoop Doggy Dog,
Ultimate Spinach,
Stiv Bators,
Spandau Ballet,
The Gun Club,
Supertramp,
Throbbing Gristle,
Ronnie Foster,
Sun Ra Arkestra,
Warsaw,
The Zeros,
Rakim,
The Cramps,
Reuben Wilson,
Porter Ricks,
Aural Exciters,
Babytalk,
Bill Wells,
Man Parrish,
The Sound,
Lightning Bolt,
Barclay James Harvest,
The Standells,
Marc Romboy vs. Booka Shade,
Eli Mardock,
The Offenders,
PIL,
Deutsch Amerikanische Freundschaft,
Negative Approach,
The Searchers,
MC5,
Moby Grape,
Neu!,
Electric Prunes,
Sparks,
The Smoke,
Dark Day,
Intrusion,
Silicon Teens,
Black Flag,
X-102,
Röyhkä ja Rättö ja Lehtisalo,
Infiniti,
Juan Atkins,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.