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 Fiji and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Bremen and Columbus.
I'm losing my edge to the art-school Tokyo 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Tomorrow to the techno 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 Ultramagnetic MC's. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
The Gap Band,
Jeru the Damaja,
Franke,
Drive Like Jehu,
Magazine,
The West Coast Pop Art Experimental Band,
Technova,
The Velvet Underground,
Ash Ra Tempel,
Rotary Connection,
Excepter,
Model 500,
Robert Wyatt,
The Pretty Things,
Glenn Branca,
Motorama,
Tropical Tobacco,
Dennis Brown,
Soft Machine,
Sly & The Family Stone,
DJ Style,
Wally Richardson,
X-101,
The Angels of Light,
Wire,
Juan Atkins,
Second Layer,
Al Stewart,
Junior Murvin,
Aloha Tigers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Thinking Fellers Union Local 282,
The Skatalites,
Don Cherry,
Eddi Front,
Gian Franco Pienzio,
Livin' Joy,
E-Dancer,
Peter and Kerry,
A Flock of Seagulls,
Cymande,
Bang on a Can All-Stars,
The Searchers,
Cheater Slicks,
Blake Baxter,
Tim Buckley,
The Black Dice,
10cc,
Visage,
The Dirtbombs,
Deutsch Amerikanische Freundschaft,
Man Eating Sloth,
Eric B and Rakim,
Gary Puckett & The Union Gap,
Main Source,
Joe Smooth,
The Slackers,
Eric Dolphy,
Minutemen,
Moebius,
The Men They Couldn't Hang,
Severed Heads,
UT, UT, UT, UT.
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.