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 Malaysia and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school New York 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Unrelated Segments 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 Wally Richardson. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every It's A Beautiful Day 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 '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Rowland S Howard / Lydia Lunch,
Boz Scaggs,
X-102,
Mantronix,
Boogie Down Productions,
Pole,
Amazonics,
Danielle Patucci,
Lower 48,
Quando Quango,
Essential Logic,
Wire,
The Saints,
Scientists,
Gang Green,
Drive Like Jehu,
Crash Course in Science,
Maleditus Sound,
Oblivians,
Minutemen,
Sun City Girls,
Soul II Soul,
Matthew Bourne,
Lyres,
Monks,
Swell Maps,
Be Bop Deluxe,
Main Source,
Fifty Foot Hose,
Red Lorry Yellow Lorry,
the Normal,
Little Man,
Marc Almond,
Gil Scott Heron,
Kayak,
Crispy Ambulance,
Archie Shepp,
Nirvana,
The New Christs,
Girls At Our Best!,
Avey Tare & Kría Brekkan,
Barclay James Harvest,
The Victims,
Eli Mardock,
Lebanon Hanover,
Avey Tare,
Yusef Lateef,
Arthur Verocai,
Black Pus,
The Fuzztones,
Oneida,
Albert Ayler,
Art Ensemble Of Chicago,
F. McDonald,
Peter and Kerry,
Visage,
The Five Americans,
the Association,
Byron Stingily,
Avey Tare's Slasher Flicks,
Babytalk,
David Axelrod,
The Zeros, The Zeros, The Zeros, The Zeros.
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.