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 Solomon Islands and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Woodstock 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 snare 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 Anthony Braxton to the electroclash kids.
I played it at the Hacienda.
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 John Foxx. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal rock 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 theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Theoretical Girls,
Arthur Verocai,
Patti Smith,
Interpol,
Art Ensemble Of Chicago,
The Music Machine,
Toni Rubio,
Franke,
Nick Fraelich,
Echo & the Bunnymen,
The Knickerbockers,
DNA,
Inner City,
Dennis Brown,
Beasts of Bourbon,
Henry Cow,
Selector Dub Narcotic,
New Age Steppers,
Metal Thangz,
Oneida,
Brothers Johnson,
The Busters,
The Cosmic Jokers,
One Last Wish,
The Real Kids,
Marc Romboy vs. Booka Shade,
Fela Kuti,
Thinking Fellers Union Local 282,
Harry Pussy,
Connie Case,
Glenn Branca,
AZ,
Suburban Knight,
Dark Day,
Mr. Review,
Porter Ricks,
The Black Dice,
Rhythim Is Rhythim,
Kauko Röyhkä ja Narttu,
Yusef Lateef,
Aaron Thompson,
Sparks,
Basic Channel,
The Doobie Brothers,
the Bar-Kays,
Sexual Harrassment,
Al Stewart,
Bad Manners,
Mandrill,
Heaven 17,
Deakin,
Mo-Dettes,
Faraquet,
The American Breed,
Leonard Cohen,
Black Sheep,
Excepter,
Ronnie Foster,
Swans,
Colin Newman,
The Happenings,
A Certain Ratio,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.