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 Lesotho and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1966 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Taipei 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Neil Young & Crazy Horse 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 Sound Behaviour. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Sunsets and Hearts 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 a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
LL Cool J,
The Leaves,
Model 500,
Sun Ra,
Soft Machine,
Marmalade,
Babytalk,
the Bar-Kays,
Fatback Band,
London Community Gospel Choir,
Jandek,
Larry & the Blue Notes,
The Birthday Party,
Youth Brigade,
Stereo Dub,
Marshall Jefferson,
Heavy D & The Boyz,
The Gories,
The Velvet Underground,
Swans,
Joe Smooth,
Black Bananas,
Steve Hackett,
Sugar Minott,
Sexual Harrassment,
Boogie Down Productions,
Absolute Body Control,
T. Rex,
Mandrill,
Khruangbin,
Whodini,
Gang Gang Dance,
Livin' Joy,
The Associates,
kango's stein massive,
Jeru the Damaja,
Minnie Riperton,
Groovy Waters,
Aaron Thompson,
The Motions,
The American Breed,
Pete Rock & C.L. Smooth,
Echospace,
Roy Ayers Ubiquity,
Slave,
Brass Construction,
the Sonics,
Patti Smith,
Stetsasonic,
Supertramp,
Ice-T,
Faraquet,
The Remains,
The Peanut Butter Conspiracy,
Brick,
Can,
Fort Wilson Riot,
Circle Jerks,
Bootsy's Rubber Band,
Sonic Youth,
Liliput, Liliput, Liliput, Liliput.
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.