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 Lithuania and from Bremen.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Bremen.
I'm losing my edge to the art-school Bremen 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 spring reverb 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 Pop Group to the jazz kids.
I played it at the Astoria.
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 Q and Not U. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Q and Not U 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Anthony Braxton,
the Slits,
Thompson Twins,
Colin Newman,
Bobby Womack,
Patti Smith,
the Normal,
Guru Guru,
Siouxsie and the Banshees,
Grandmaster Flash,
Crash Course in Science,
Jawbox,
DJ Style,
Outsiders,
Warsaw,
Erasure,
Eli Mardock,
Ash Ra Tempel,
Animal Collective,
Idris Muhammad,
Sticky Fingaz feat. Raekwon,
Surgeon,
China Crisis,
X-102,
MC5,
Desert Stars,
The Divine Comedy,
Porter Ricks,
The Angels of Light,
The Fall,
Liaisons Dangereuses,
Depeche Mode,
Rowland S Howard / Lydia Lunch,
Bootsy Collins,
The Mummies,
Ronnie Foster,
The Smoke,
Pulsallama,
Arthur Verocai,
Janne Schatter,
Man Parrish,
Brothers Johnson,
Shoche,
R.M.O.,
Fifty Foot Hose,
Michelle Simonal,
Dual Sessions,
the Soft Cell,
Joensuu 1685,
Lee Hazlewood,
Electric Light Orchestra,
Cal Tjader,
Sister Nancy,
Robert Wyatt,
Bobby Byrd,
Big Daddy Kane,
Inner City,
Gerry Rafferty,
U.S. Maple,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.