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 Rwanda and from Shanghai.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Stockholm 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 arpeggiator 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 Country Joe & The Fish to the electroclash 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 Vladislav Delay. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Tim Buckley,
Minutemen,
Kool G Rap & DJ Polo,
Bill Wells,
Spoonie Gee,
Marcia Griffiths,
Surgeon,
Marc Almond,
Blake Baxter,
Alice Coltrane,
The Wake,
Maurizio,
Skaos,
Nick Fraelich,
John Lydon,
Adolescents,
Quadrant,
Eurythmics,
Steve Hackett,
Minny Pops,
Kaleidoscope,
Negative Approach,
The Happenings,
Popol Vuh,
Electric Prunes,
Mo-Dettes,
Eddi Front,
Big Daddy Kane,
Ultra Naté,
Crime,
The Fall,
Matthew Halsall,
Amon Düül II,
Roy Ayers Ubiquity,
Section 25,
Stereo Dub,
Neil Young,
Aural Exciters,
New Order,
Larry & the Blue Notes,
Barclay James Harvest,
Shuggie Otis,
Sun City Girls,
Mandrill,
Jacques Brel,
The Black Dice,
The Offenders,
the Slits,
JFA,
Beasts of Bourbon,
Whodini,
Quando Quango,
Oppenheimer Analysis,
The Durutti Column,
Lucky Dragons,
Delta 5,
Agitation Free,
The Gun Club,
U.S. Maple,
Massinfluence,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.