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 Micronesia and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1979.
I'm losing my edge.
To all the kids in New York and Manila.
I'm losing my edge to the art-school Portland 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 theremin 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 Siglo XX to the dance kids.
I played it at the Roxy.
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 Aswad. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Oppenheimer Analysis 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your organ and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Orchestral Manoeuvres in the Dark,
Crispy Ambulance,
UT,
Rapeman,
Cecil Taylor,
Porter Ricks,
The Fortunes,
Freddie Wadling,
Rosa Yemen,
Rahsaan Roland Kirk,
Rhythim Is Rhythim,
Cheater Slicks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tom Boy,
Monolake,
Sparks,
Howard Jones,
Kenny Larkin,
The Index,
Unwound,
The Names,
Red Lorry Yellow Lorry,
David McCallum,
The Cowsills,
June of 44,
The Blackbyrds,
Charles Mingus,
Avey Tare,
ABC,
Sixth Finger,
Mission of Burma,
Alton Ellis,
Japan,
Icehouse,
Eve St. Jones,
Negative Approach,
Skaos,
Adolescents,
PIL,
Gary Puckett & The Union Gap,
The Fire Engines,
The Five Americans,
Alice Coltrane,
Idris Muhammad,
The Pop Group,
Vladislav Delay,
X-101,
Masters at Work,
Robert Wyatt,
Selector Dub Narcotic,
The Angels of Light,
Amazonics,
Boredoms,
The Modern Lovers,
The United States of America,
The Shadows of Knight,
Radiohead,
the Human League,
Rowland S Howard / Lydia Lunch,
T.S.O.L.,
Infiniti,
Darondo,
Pagans,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.