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 Brunei and from Portland.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and New York.
I'm losing my edge to the art-school Manchester 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Glambeats Corp. to the punk kids.
I played it at the Astoria.
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 World's Most. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Skriet,
Peter & Gordon,
Bobby Sherman,
Skarface,
World's Most,
Faraquet,
Louis and Bebe Barron,
the Association,
Can,
Schoolly D,
A Flock of Seagulls,
The Pretty Things,
Minutemen,
Boz Scaggs,
Rekid,
Adolescents,
Crime,
John Holt,
Archie Shepp,
FM Einheit,
The Black Dice,
Siouxsie and the Banshees,
Avey Tare,
Eyeless In Gaza,
Marc Almond,
Model 500,
Wally Richardson,
Warren Ellis,
Ituana,
Sparks,
Pharaoh Sanders and the Fire Engines,
48th St. Collective,
Theoretical Girls,
Lungfish,
10cc,
Quantec,
Lee Hazlewood,
PIL,
New Order,
Grauzone,
the Germs,
Gichy Dan,
Amon Düül,
Mad Mike,
The Offenders,
The Kinks,
It's A Beautiful Day,
Sister Nancy,
Alton Ellis,
Flash Fearless,
Roger Hodgson,
Johnny Clarke,
James Chance & The Contortions,
The Shadows of Knight,
Sixth Finger,
Moss Icon,
Junior Murvin,
Tears for Fears,
Red Lorry Yellow Lorry,
Crispian St. Peters,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.