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 Dominican Republic and from Winnipeg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lagos and Glasgow.
I'm losing my edge to the art-school Houston 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 The Angels of Light to the disco 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 Idris Muhammad. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Crispian St. Peters,
The Barracudas,
Fluxion,
the Fania All-Stars,
These Immortal Souls,
LL Cool J,
New York Dolls,
The Smoke,
Cabaret Voltaire,
Man Parrish,
Swell Maps,
cv313,
Hoover,
The Techniques,
The Sonics,
Marshall Jefferson,
Clear Light,
Rosa Yemen,
F. McDonald,
The Misunderstood,
The Gun Club,
The Skatalites,
Jeff Mills,
Echo & the Bunnymen,
Fela Kuti,
Gabor Szabo,
One Last Wish,
Radio Birdman,
Fat Boys,
Laurel Aitken,
Erasure,
Mark Hollis,
Kerrie Biddell,
Andrew Ashong & Theo Parrish,
Arthur Verocai,
Brand Nubian,
Section 25,
Alphaville,
Donald Byrd,
Freddie Wadling,
Scratch Acid,
The West Coast Pop Art Experimental Band,
Barry Ungar,
Fort Wilson Riot,
Man Eating Sloth,
D'Angelo,
Lyres,
Wally Richardson,
Motorama,
Livin' Joy,
Audionom,
UT,
Bill Near,
Camouflage,
The Remains,
Nation of Ulysses,
Rahsaan Roland Kirk,
Pere Ubu,
The Angels of Light,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.