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 Turkmenistan and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1963 to 1971.
I'm losing my edge.
To all the kids in Beijing and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Bang on a Can All-Stars to the disco kids.
I played it at the Astoria.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Model 500 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Silicon Teens,
Liaisons Dangereuses,
Connie Case,
Grandmaster Flash,
The Standells,
Girls At Our Best!,
Bobby Hutcherson,
The Real Kids,
Sixth Finger,
The Black Dice,
cv313,
Jacques Brel,
Sight & Sound,
The Stooges,
Rod Modell,
Sound Behaviour,
The Slackers,
Wighnomy Brothers & Robag Wruhme,
Darondo,
Electric Light Orchestra,
Fifty Foot Hose,
Crispy Ambulance,
Aural Exciters,
Selector Dub Narcotic,
Adolescents,
The Peanut Butter Conspiracy,
Nation of Ulysses,
The Jesus and Mary Chain,
Sticky Fingaz feat. Raekwon,
Fugazi,
The Young Rascals,
The Sonics,
Pharoah Sanders,
Kas Product,
Crash Course in Science,
The Music Machine,
Juan Atkins,
Johnny Osbourne,
Subhumans,
June of 44,
The Move,
Rowland S Howard / Lydia Lunch,
Andrew Ashong & Theo Parrish,
Rhythm & Sound,
Rosa Yemen,
Porter Ricks,
The Fuzztones,
L. Decosne,
Soul II Soul,
Curtis Mayfield,
The Gap Band,
Rapeman,
The Doors,
Mars,
Hoover,
The United States of America,
Boz Scaggs,
Drexciya,
Gian Franco Pienzio,
Gang of Four,
Glenn Branca,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.