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 Germany and from Portland.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Calgary.
I'm losing my edge to the art-school Houston 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 marimba sounds with much patience.
I was there when David Bowie 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 Bill Near to the electroclash 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 Stiv Bators. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
The Offenders,
Kerri Chandler,
Nation of Ulysses,
A Certain Ratio,
Dead Boys,
Public Enemy,
Josef K,
Major Organ And The Adding Machine,
Selector Dub Narcotic,
Arcadia,
James Chance & The Contortions,
Gang Gang Dance,
Wire,
Los Fastidios,
K-Klass,
The American Breed,
Jandek,
Unrelated Segments,
Stetsasonic,
Visage,
Soulsonic Force,
Index,
Soft Machine,
Bronski Beat,
The Doors,
Jerry Gold Smith,
Sexual Harrassment,
Gregory Isaacs,
Eli Mardock,
Loose Ends,
Swell Maps,
The Fortunes,
The Buckinghams,
Masters at Work,
Yusef Lateef,
Chris & Cosey,
The Dirtbombs,
Robert Wyatt,
Tropical Tobacco,
Kerrie Biddell,
Moebius,
Byron Stingily,
The West Coast Pop Art Experimental Band,
The Dead C,
Hashim,
Half Japanese,
Godley & Creme,
Zapp,
Patti Smith,
Section 25,
Scott Walker + Sunn O))),
Cheater Slicks,
the Swans,
Moss Icon,
Sonic Youth,
Monolake,
The Barracudas,
Dark Day,
the Germs,
Wings,
Mission of Burma,
Khruangbin,
Altered Images,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.