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 Bosnia Herzegovina and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Paris and Toronto.
I'm losing my edge to the art-school Milan 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 Lou Reed 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 Sexual Harrassment to the disco kids.
I played it at the Roxy.
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 Stereo Dub. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Supertramp 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
Saccharine Trust,
Lower 48,
Angels of Light & Akron/Family,
Byron Stingily,
Stiv Bators,
Index,
Rotary Connection,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Arthur Verocai,
Pere Ubu,
The Residents,
Spandau Ballet,
Joensuu 1685,
Monks,
Leonard Cohen,
Marc Romboy vs. Booka Shade,
Cal Tjader,
Whodini,
Urselle,
Sex Pistols,
Bronski Beat,
Lou Reed & John Cale,
Minnie Riperton,
The Cure,
Slick Rick,
Gerry Rafferty,
Mandrill,
Stockholm Monsters,
Crash Course in Science,
Quando Quango,
Moby Grape,
Anthony Braxton,
Ornette Coleman,
Technova,
Pierre Henry,
Bobby Byrd,
Gabor Szabo,
Deadbeat,
Fad Gadget,
The Sound,
Gong,
The J.B.'s,
Chris Corsano,
Jacob Miller,
Derrick Morgan,
Minor Threat,
Absolute Body Control,
The Moody Blues,
Ponytail,
Rowland S Howard / Lydia Lunch,
Carl Craig,
Angry Samoans,
The Mojo Men,
X-101,
The Skatalites,
Malaria!,
Arcadia,
X-Ray Spex,
Lalann,
Bob Dylan,
Skriet,
Captain Beefheart & His Magic Band,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.