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 Madrid.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
I'm losing my edge to the art-school Houston 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 mellotron 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 Deadbeat to the grime 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 Wings. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
Masters at Work,
Roxette,
Liaisons Dangereuses,
James White and The Blacks,
Quando Quango,
X-Ray Spex,
Mr. Review,
Frankie Knuckles,
Siglo XX,
Sex Pistols,
Avey Tare & Kría Brekkan,
Young Marble Giants,
Anakelly,
DNA,
The Cramps,
Glambeats Corp.,
Sun Ra Arkestra,
Cal Tjader,
Eurythmics,
The Dirtbombs,
Max Romeo,
Echospace,
Wasted Youth,
The New Christs,
Ultravox,
China Crisis,
Grandmaster Flash and the Furious Five,
Camouflage,
MDC,
The Birthday Party,
Silicon Teens,
Darondo,
Reuben Wilson,
Joey Negro,
Ornette Coleman,
Camron Feat. Memphis Bleek And Beenie Seigel,
Public Image Ltd.,
Black Pus,
Visionaries,LMNO, T- Love & Iriscience,
Warsaw,
Alphaville,
Art Ensemble Of Chicago,
the Normal,
Be Bop Deluxe,
The Knickerbockers,
Faraquet,
Kerrie Biddell,
Sun City Girls,
The Gun Club,
Kevin Saunderson,
Rakim,
Jandek,
Alice Coltrane,
Iggy Pop,
Tropical Tobacco,
Marine Girls,
Archie Shepp,
Arthur Verocai,
The Move,
Justin Hinds & The Dominoes,
Radiohead,
The Toasters, The Toasters, The Toasters, The Toasters.
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.