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 South Sudan and from Mexico City.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Manila.
I'm losing my edge to the art-school Mumbai 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 spring reverb 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 Urselle to the crunk kids.
I played it at the Troubador.
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 Swell Maps. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Albert Ayler,
Sam Rivers,
Avey Tare,
The Remains,
Strawberry Alarm Clock,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Saccharine Trust,
Newcleus,
Jandek,
Ralphi Rosario,
Gichy Dan,
Scrapy,
Henry Cow,
Gil Scott-Heron & Brian Jackson,
Quantec,
The Birthday Party,
Drive Like Jehu,
Soft Machine,
Sunsets and Hearts,
MC5,
Babytalk,
E-Dancer,
Ituana,
The Angels of Light,
Gerry Rafferty,
Subhumans,
Q65,
The Slits,
D'Angelo,
Blossom Toes,
Crash Course in Science,
Eric B and Rakim,
The Fuzztones,
Zapp,
Black Pus,
Circle Jerks,
The Fall,
The Selecter,
Pole,
Art Ensemble Of Chicago,
X-101,
Funkadelic,
Anakelly,
The Dirtbombs,
The Trojans,
Dennis Brown,
Robert Görl,
Avey Tare's Slasher Flicks,
The Gun Club,
Essential Logic,
Pussy Galore,
Cybotron,
Rotary Connection,
Harmonia,
The Misunderstood,
Rhythm & Sound,
Soul Sonic Force,
Notorious BIG live in Amsterdam,
Visage,
The Chocolate Watch Band,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.