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 New Zealand and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Taipei.
I'm losing my edge to the art-school Jakarta 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 harpsichord 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 Aswad to the electroclash kids.
I played it at the Spitz.
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 Man Parrish. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Masters at Work,
Mo-Dettes,
Jacques Brel,
Man Parrish,
Siouxsie and the Banshees,
JFA,
Red Lorry Yellow Lorry,
Neil Young,
Scientists,
Michelle Simonal,
Gang of Four,
Ronan,
Cybotron,
Sister Nancy,
The Red Krayola,
Albert Ayler,
H. Thieme,
Sun Ra,
Bobby Sherman,
Metal Thangz,
cv313,
Lindisfarne,
Art Ensemble Of Chicago,
Oblivians,
Shoche,
The Slits,
The Sound,
Sonny Sharrock,
The Smiths,
The Jesus and Mary Chain,
8 Eyed Spy,
The Saints,
Deakin,
Tim Buckley,
Big Daddy Kane,
Warren Ellis,
The Human League,
Nation of Ulysses,
Cluster,
Hashim,
the Bar-Kays,
Dawn Penn,
Pierre Henry,
The Five Americans,
The Techniques,
Echospace,
Moebius,
Urselle,
the Association,
Aloha Tigers,
Justin Hinds & The Dominoes,
The Durutti Column,
Soul Sonic Force,
Janne Schatter,
Sam Rivers,
Minutemen,
New York Dolls,
Glambeats Corp.,
Von Mondo,
The Motions, The Motions, The Motions, The Motions.
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.