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 Nauru and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Lagos.
I'm losing my edge to the art-school Stockholm 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 theremin sounds with much patience.
I was there when Michael McDonald 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 the Slits to the rap 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 The Chocolate Watch Band. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Wolf Eyes,
Babytalk,
Los Fastidios,
UT,
Mary Jane Girls,
Metal Thangz,
The Raincoats,
Crash Course in Science,
Peter & Gordon,
the Sonics,
Skriet,
John Lydon,
Blake Baxter,
Funky Four + One,
Eric B and Rakim,
The Cramps,
The Victims,
Roy Ayers,
Q and Not U,
Franke,
The American Breed,
The Mummies,
Sun Ra,
Scrapy,
Drexciya,
The Walker Brothers,
Letta Mbulu,
Boogie Down Productions,
Jacques Brel,
Derrick Morgan,
DJ Sneak,
Sällskapet,
The Evens,
X-Ray Spex,
Erykah Badu,
The Techniques,
Half Japanese,
Pantaleimon,
Tim Buckley,
Gil Scott Heron,
kango's stein massive,
Matthew Bourne,
Pete Rock & C.L. Smooth,
Q65,
R.M.O.,
The Alarm Clocks,
Ultravox,
Depeche Mode,
Cabaret Voltaire,
The Wake,
Quando Quango,
the Association,
Motorama,
Cybotron,
Scientists,
L. Decosne,
Barclay James Harvest,
Radio Birdman,
Surgeon,
Selector Dub Narcotic,
Tomorrow,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.