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 Luxembourg and from Glasgow.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school London 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 sitar 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 Swans to the funk 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 Ornette Coleman. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Darondo 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Althea and Donna,
Can,
Radio Birdman,
Michelle Simonal,
Traffic Nightmare,
Eurythmics,
Marine Girls,
Saccharine Trust,
Kauko Röyhkä ja Narttu,
Deutsch Amerikanische Freundschaft,
Kings Of Tomorrow,
Q65,
The Golliwogs,
Idris Muhammad,
Brass Construction,
Skaos,
Beasts of Bourbon,
Average White Band,
China Crisis,
MDC,
Arthur Verocai,
Ultravox,
Desert Stars,
Aaron Thompson,
Reuben Wilson,
Nick Fraelich,
Gichy Dan,
Young Marble Giants,
Popol Vuh,
Drexciya,
Colin Newman,
The Fire Engines,
Warsaw,
Scan 7,
Crash Course in Science,
The Litter,
New York Dolls,
Kevin Saunderson,
Sound Behaviour,
OOIOO,
Camouflage,
Eric Copeland,
The Cramps,
Maleditus Sound,
X-102,
Sly & The Family Stone,
X-Ray Spex,
Bauhaus,
Spandau Ballet,
Chris & Cosey,
The West Coast Pop Art Experimental Band,
The Saints,
The Raincoats,
The Fugs,
World's Most,
Half Japanese,
Kayak,
Nirvana,
Piero Umiliani,
Khruangbin,
MC5,
the Human League,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.