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 Andorra and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Seoul and Milan.
I'm losing my edge to the art-school Sao Paulo 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 linndrum 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 Gang of Four to the funk kids.
I played it at CBGB's.
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 Gregory Isaacs. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Holt,
Jeff Lynne,
Black Pus,
Jesper Dahlbäck,
A Certain Ratio,
Susan Cadogan,
Yazoo,
The Pretty Things,
Agent Orange,
Scrapy,
Marc Romboy vs. Booka Shade,
Tommy Roe,
Sonny Sharrock,
The Fortunes,
Gary Puckett & The Union Gap,
R.M.O.,
The Seeds,
The Mojo Men,
Camouflage,
Supertramp,
Arcadia,
The Dave Clark Five,
Zapp,
Lou Reed,
DJ Sneak,
Stereo Dub,
Popol Vuh,
Jerry Gold Smith,
Kaleidoscope,
Wolf Eyes,
Cameo,
Patti Smith,
Gian Franco Pienzio,
Major Organ And The Adding Machine,
Teenage Jesus and the Jerks,
Chris Corsano,
Jandek,
Derrick May,
Technova,
The Names,
Surgeon,
Leonard Cohen,
Black Sheep,
Brass Construction,
Magma,
The Count Five,
Barry Ungar,
Pussy Galore,
Big Daddy Kane,
Suicide,
Sight & Sound,
Reuben Wilson,
Guru Guru,
the Soft Cell,
Sad Lovers and Giants,
Sonic Youth,
Larry & the Blue Notes,
L. Decosne,
Scientists,
Captain Beefheart & His Magic Band,
Soulsonic Force,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.