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 Ecuador and from Shanghai.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Manchester 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Doors to the grime 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 Bobby Byrd. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Gabor Szabo,
Delta 5,
Visage,
the Human League,
John Holt,
Jacques Brel,
Piero Umiliani,
Dual Sessions,
Lalo Schifrin,
Bootsy Collins,
Pylon,
Arcadia,
Bauhaus,
The Moleskins,
The Selecter,
Chris & Cosey,
Barry Ungar,
David Bowie,
Susan Cadogan,
New Order,
Marine Girls,
Cecil Taylor,
Hashim,
Be Bop Deluxe,
Andrew Ashong & Theo Parrish,
R.M.O.,
Moebius,
Stetsasonic,
Man Eating Sloth,
Peter Gordon & Love of Life Orchestra,
The Cosmic Jokers,
kango's stein massive,
Tears for Fears,
Banda Bassotti,
a-ha,
JFA,
The Remains,
The Gladiators,
The Five Americans,
Animal Collective,
The Alarm Clocks,
Selector Dub Narcotic,
Marshall Jefferson,
Loose Ends,
Marc Romboy vs. Booka Shade,
The Slits,
Ohio Players,
Sun City Girls,
Gian Franco Pienzio,
Section 25,
Lee Hazlewood,
Toni Rubio,
Suicide,
The Birthday Party,
The Neon Judgement,
Black Sheep,
Lou Christie,
Porter Ricks,
Lindisfarne,
Swell Maps,
Scott Walker + Sunn O))),
Kenny Larkin,
Parry Music, Parry Music, Parry Music, Parry Music.
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.