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 Uruguay and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school Philadelphia 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Chocolate Watch Band to the punk kids.
I played it at the 40 Watt.
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 Joyce Sims. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Deepchord,
Adolescents,
Bob Dylan,
Banda Bassotti,
The Skatalites,
Visionaries,LMNO, T- Love & Iriscience,
Livin' Joy,
Charles Mingus,
Stetsasonic,
Blake Baxter,
Ultra Naté,
Ituana,
Freddie Wadling,
The Remains,
Dr. Dre and Snoop Doggy Dog,
This Heat,
Electric Prunes,
Gil Scott-Heron & Brian Jackson,
Goldenarms,
Bang On A Can,
Sound Behaviour,
Jeff Mills,
Terrestrial Tones,
Visage,
Neu!,
Cluster,
Blancmange,
EPMD,
Carl Craig,
The Blues Magoos,
Symarip,
Lonnie Liston Smith,
A Flock of Seagulls,
The Sisters of Mercy,
Kerrie Biddell,
Idris Muhammad,
Brick,
Skaos,
Eurythmics,
Nirvana,
Rekid,
Terry Callier,
Colin Newman,
Gil Scott-Heron and Jamie xx,
the Human League,
Warsaw,
Vladislav Delay,
Bobby Hutcherson,
Basic Channel,
The Beau Brummels,
The Slackers,
Davy DMX,
Danielle Patucci,
Black Bananas,
the Fania All-Stars,
Slick Rick,
The Kinks,
Leonard Cohen,
Avey Tare's Slasher Flicks,
Bauhaus,
Wings,
The Index, The Index, The Index, The Index.
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.