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 Switzerland and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Toronto 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 arpeggiator 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 The Leaves to the techno kids.
I played it at the Roxy.
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 Donald Byrd. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Sexual Harrassment 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 '70s cut and another box set from the '90s.
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 Brand Nubian record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Popol Vuh,
Moby Grape,
Kas Product,
Harpers Bizarre,
Ajijia Myrayebe,
Kenny Larkin,
Rowland S Howard / Lydia Lunch,
Dead Boys,
Kool Moe Dee,
Nation of Ulysses,
Kango’s Stein Massive,
ABBA,
Japan,
June of 44,
New Age Steppers,
Be Bop Deluxe,
Freddie Wadling,
Warren Ellis,
Amazonics,
Don Cherry,
Ossler,
the Swans,
Spandau Ballet,
Joe Smooth,
The Smoke,
Sarah Menescal,
Gregory Isaacs,
Make Up,
Bootsy Collins,
Patti Smith,
Fifty Foot Hose,
The Pop Group,
Henry Cow,
Yazoo,
The Real Kids,
Ken Boothe,
Nils Olav,
The Alarm Clocks,
Adolescents,
R.M.O.,
The Dead C,
Teenage Jesus and the Jerks,
Kool G Rap & DJ Polo,
Porter Ricks,
Gian Franco Pienzio,
Josef K,
Pierre Henry,
Roy Ayers,
Underground Resistance,
Metal Thangz,
Depeche Mode,
kango's stein massive,
Gil Scott-Heron and Jamie xx,
Rufus Thomas,
Barclay James Harvest,
Mo-Dettes,
Bizarre Inc.,
Section 25,
Jandek,
Eyeless In Gaza,
Deakin,
Toni Rubio,
Quantec, Quantec, Quantec, Quantec.
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.