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 Belarus and from New York.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school Hong Kong 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Joe Smooth to the rap 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 Ultravox. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Nick Fraelich,
Alphaville,
The Wake,
John Holt,
Boogie Down Productions,
Amon Düül,
Masters at Work,
Sound Behaviour,
Kauko Röyhkä ja Narttu,
The Cure,
Dorothy Ashby,
The Last Poets,
Eyeless In Gaza,
Hashim,
The Litter,
Arab on Radar,
Shuggie Otis,
Joyce Sims,
Liliput,
JFA,
Animal Collective,
Brothers Johnson,
The Mummies,
Clear Light,
Pussy Galore,
Gabor Szabo,
The Evens,
Pole,
New York Dolls,
Mantronix,
Guru Guru,
Eric Copeland,
Terrestrial Tones,
Soul Sonic Force,
Rotary Connection,
Roxy Music,
The Gun Club,
Bad Manners,
Joensuu 1685,
Ituana,
Excepter,
Icehouse,
The Fuzztones,
Nils Olav,
Index,
Lebanon Hanover,
Sam Rivers,
Interpol,
Chris & Cosey,
Alison Limerick,
Prince Buster,
Young Marble Giants,
Lucky Dragons,
Gil Scott-Heron and Jamie xx,
Deakin,
Sex Pistols,
The Skatalites,
Soft Machine,
The Invisible,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.