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 Madagascar and from Manila.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Spokane and Halifax.
I'm losing my edge to the art-school Hong Kong 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 oboe 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 Guru Guru to the rap 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 Amon Düül. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal disco 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Pylon,
Mad Mike,
Cabaret Voltaire,
Arcadia,
Theoretical Girls,
Althea and Donna,
Can,
The Grass Roots,
Charles Mingus,
The Names,
Moss Icon,
David McCallum,
Royal Trux,
The Music Machine,
Louis and Bebe Barron,
the Slits,
Toni Rubio,
Cymande,
Bluetip,
Easy Going,
Excepter,
Alice Coltrane,
T. Rex,
Bad Manners,
Manfred Mann's Earth Band,
Procol Harum,
Soul Sonic Force,
Shoche,
Sun Ra,
Liaisons Dangereuses,
The Techniques,
Hasil Adkins,
Motorama,
The Stooges,
Intrusion,
Masters at Work,
Girls At Our Best!,
Pierre Henry,
Lee Hazlewood,
The Slackers,
Judy Mowatt,
Bobby Sherman,
The Seeds,
Liliput,
Roxette,
X-102,
Patti Smith,
The Five Americans,
Sister Nancy,
Gregory Isaacs,
James White and The Blacks,
the Association,
Nils Olav,
The Raincoats,
The Slits,
Mark Hollis,
Rhythm & Sound,
Bauhaus,
Boz Scaggs,
Amon Düül II,
The Misunderstood,
Alphaville, Alphaville, Alphaville, Alphaville.
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.