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 Cyprus and from Tehran.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
I'm losing my edge to the art-school Delhi 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 synthesizer 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 Gang Green to the punk 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 Warren Ellis. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Eurythmics,
Harpers Bizarre,
The Dirtbombs,
Eli Mardock,
Barry Ungar,
Funkadelic,
Eddi Front,
Henry Cow,
The Sonics,
Lou Reed & John Cale,
Gastr Del Sol,
Inner City,
Quadrant,
Minny Pops,
Quantec,
The Sisters of Mercy,
Marshall Jefferson,
Maleditus Sound,
T.S.O.L.,
Eric Copeland,
The Gories,
Pantytec,
The Human League,
Warsaw,
The Techniques,
Brand Nubian,
the Swans,
Eve St. Jones,
Jandek,
This Heat,
Index,
Easy Going,
The Evens,
Hot Snakes,
Joe Finger,
Motorama,
a-ha,
Black Bananas,
Davy DMX,
Tim Buckley,
Sonic Youth,
Freddie Wadling,
Rufus Thomas,
Scrapy,
Thinking Fellers Union Local 282,
Michelle Simonal,
Stiv Bators,
Liliput,
Art Ensemble Of Chicago,
Mission of Burma,
Blossom Toes,
Iggy Pop,
Graham Central Station,
June of 44,
Amazonics,
Joensuu 1685,
Suicide,
Pete Rock & C.L. Smooth,
Junior Murvin,
John Holt,
The Seeds, The Seeds, The Seeds, The Seeds.
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.