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 Mongolia and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1961 to 1972.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Taipei 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 theremin 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 Alison Limerick to the funk kids.
I played it at the Crocodile.
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 Kenny Larkin. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Jesper Dahlback 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Sound Behaviour,
Stereo Dub,
Animal Collective,
The Moody Blues,
Moby Grape,
Outsiders,
Bauhaus,
Vaughan Mason & Crew,
Boz Scaggs,
Liaisons Dangereuses,
Sarah Menescal,
Con Funk Shun,
Sunsets and Hearts,
T. Rex,
The Buckinghams,
Andrew Ashong & Theo Parrish,
The Cure,
Section 25,
The Invisible,
Negative Approach,
David Axelrod,
The Seeds,
The Remains,
The Mojo Men,
Ken Boothe,
Subhumans,
Swell Maps,
Malaria!,
The Fugs,
Idris Muhammad,
Organ,
Eyeless In Gaza,
Massinfluence,
Nirvana,
the Normal,
Cal Tjader,
Man Parrish,
The Velvet Underground,
Nation of Ulysses,
In Retrospect,
Neil Young & Crazy Horse,
Circle Jerks,
Marc Romboy vs. Booka Shade,
Matthew Bourne,
Eve St. Jones,
The Evens,
Pharoah Sanders,
Excepter,
Stetsasonic,
Jandek,
Jimmy McGriff,
Swans,
Lyres,
Red Lorry Yellow Lorry,
The United States of America,
Stiv Bators,
Half Japanese,
Howard Jones,
Eric Dolphy,
It's A Beautiful Day,
cv313, cv313, cv313, cv313.
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.