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 Marshall Islands and from Manchester.
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 1975.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Spokane 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro 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 R.M.O. to the techno 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 Roger Hodgson. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Captain Beefheart & His Magic Band,
The Knickerbockers,
Warsaw,
Gil Scott-Heron and Jamie xx,
Gregory Isaacs,
the Normal,
Agent Orange,
Minor Threat,
Alice Coltrane,
Heavy D & The Boyz,
The Alarm Clocks,
Byron Stingily,
Gang of Four,
Sun Ra,
June Days,
Masters at Work,
Underground Resistance,
Amazonics,
Funky Four + One,
The Durutti Column,
Tomorrow,
Siglo XX,
Sly & The Family Stone,
the Slits,
The Shadows of Knight,
Metal Thangz,
The Seeds,
Kerri Chandler,
Half Japanese,
Dorothy Ashby,
Warren Ellis,
Gong,
The Skatalites,
Country Joe & The Fish,
Ultramagnetic MC's,
Bronski Beat,
Jerry Gold Smith,
Selector Dub Narcotic,
Pole,
Stetsasonic,
Wolf Eyes,
John Foxx,
The Music Machine,
Magazine,
The Pop Group,
Gil Scott-Heron & Brian Jackson,
Scrapy,
Soft Machine,
Erasure,
Arab on Radar,
Juan Atkins,
The Happenings,
Robert Wyatt,
Depeche Mode,
Jeru the Damaja,
Nick Cave & The Bad Seeds,
Crime,
Roy Ayers,
Visage,
Hasil Adkins,
The Doors,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.