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 Libya and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Woodstock.
I'm losing my edge to the art-school Manila 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart 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 Glenn Branca to the punk kids.
I played it at Trash.
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 Cluster. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal jazz 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 a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Pere Ubu,
Hashim,
Lou Reed & John Cale,
Aaron Thompson,
cv313,
DeepChord presents Echospace,
Matthew Bourne,
Urselle,
Funky Four + One,
Hasil Adkins,
DNA,
Banda Bassotti,
Dual Sessions,
Lizzy Mercier Descloux,
Supertramp,
Angry Samoans,
Sun Ra,
Main Source,
Kango’s Stein Massive,
Scientists,
Thinking Fellers Union Local 282,
The Residents,
Zapp,
Jeff Lynne,
Hardrive,
Nick Fraelich,
Carl Craig,
Major Organ And The Adding Machine,
The Durutti Column,
Spandau Ballet,
The Buckinghams,
Pagans,
H. Thieme,
The Offenders,
Lebanon Hanover,
Young Marble Giants,
Loose Ends,
Heavy D & The Boyz,
The Modern Lovers,
The Martian,
Monolake,
Symarip,
Con Funk Shun,
Rowland S Howard / Lydia Lunch,
Interpol,
Camberwell Now,
Electric Prunes,
Babytalk,
The Slackers,
the Swans,
Archie Shepp,
Ultra Naté,
Louis and Bebe Barron,
The Men They Couldn't Hang,
Marmalade,
Crooked Eye,
The Neon Judgement,
Flipper,
FM Einheit,
The Cramps,
The Remains, The Remains, The Remains, The Remains.
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.