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 Colombia and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Calgary 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 harpsichord 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 Sonny Sharrock to the punk 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 Ludus. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Wasted Youth,
Q65,
Talk Talk,
Eden Ahbez,
Rekid,
Sun City Girls,
The Alarm Clocks,
Traffic Nightmare,
Pussy Galore,
Guru Guru,
Public Enemy,
The Sisters of Mercy,
Intrusion,
the Association,
Spoonie Gee,
Pierre Henry,
Brass Construction,
Terrestrial Tones,
Pagans,
Black Pus,
Erasure,
Isaac Hayes,
Flipper,
Kango’s Stein Massive,
The Fuzztones,
MDC,
Grey Daturas,
Kauko Röyhkä ja Narttu,
Little Man,
Glenn Branca,
Wire,
Grandmaster Flash and the Furious Five,
Jimmy McGriff,
Essential Logic,
Blake Baxter,
Toni Rubio,
Joyce Sims,
DeepChord presents Echospace,
Selector Dub Narcotic,
Jacques Brel,
MC5,
the Fania All-Stars,
The Leaves,
Jandek,
It's A Beautiful Day,
The Star Department,
Eric Dolphy,
the Swans,
Lightning Bolt,
Amon Düül,
Ajijia Myrayebe,
The Modern Lovers,
Pere Ubu,
Lou Reed & John Cale,
The Electric Prunes,
the Sonics,
Delta 5,
Half Japanese,
The Mummies,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.