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 Brazil and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Houston.
I'm losing my edge to the art-school Spokane 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 harpsichord 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 John Holt to the dance 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 Cecil Taylor. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Chris Corsano record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Marc Almond,
Intrusion,
Neu!,
Idris Muhammad,
Bootsy Collins,
DeepChord presents Echospace,
R.M.O.,
Camberwell Now,
The Shadows of Knight,
Jerry Gold Smith,
Eli Mardock,
Saccharine Trust,
Fad Gadget,
The Monks,
The Selecter,
Stetsasonic,
Bill Near,
Gastr Del Sol,
Swell Maps,
Radiohead,
the Slits,
Simply Red,
The Velvet Underground,
Mad Mike,
The Stooges,
kango's stein massive,
Barrington Levy,
Strawberry Alarm Clock,
Adolescents,
The Modern Lovers,
Michelle Simonal,
Main Source,
Anthony Braxton,
Can,
Delon & Dalcan,
Aswad,
The Zeros,
Maleditus Sound,
Scott Walker + Sunn O))),
Wasted Youth,
John Lydon,
Altered Images,
Minnie Riperton,
The Tremeloes,
Porter Ricks,
Agent Orange,
Gary Puckett & The Union Gap,
The Divine Comedy,
Animal Collective,
Deadbeat,
Roxette,
Liliput,
The Kinks,
Janne Schatter,
Icehouse,
Sonny Sharrock,
Lucky Dragons,
The West Coast Pop Art Experimental Band,
Panda Bear,
Aaron Thompson,
Cal Tjader,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.