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 Belarus and from Johannesburg.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 Franke to the electroclash 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 Susan Cadogan. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Lou Reed 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Juan Atkins,
Nirvana,
Aaron Thompson,
Maleditus Sound,
Skarface,
Bobby Hutcherson,
Bob Dylan,
Bad Manners,
The Zeros,
Outsiders,
Eurythmics,
The Cramps,
Liaisons Dangereuses,
Big Daddy Kane,
Ossler,
Pet Shop Boys,
Don Cherry,
Vaughan Mason & Crew,
Fatback Band,
Popol Vuh,
Art Ensemble Of Chicago,
Gil Scott-Heron and Jamie xx,
The Evens,
Barrington Levy,
Motorama,
Wighnomy Brothers & Robag Wruhme,
Rufus Thomas,
Gian Franco Pienzio,
Agent Orange,
OOIOO,
The Motions,
Dave Gahan,
Massinfluence,
Colin Newman,
Vladislav Delay,
Flamin' Groovies,
Angry Samoans,
Fat Boys,
Black Pus,
T. Rex,
cv313,
Sight & Sound,
Crash Course in Science,
Lebanon Hanover,
Robert Görl,
Dual Sessions,
JFA,
Skriet,
Erasure,
World's Most,
Grauzone,
Barry Ungar,
Lou Reed,
Swell Maps,
Lalann,
Joey Negro,
In Retrospect,
Saccharine Trust,
The Index,
The Litter, The Litter, The Litter, The Litter.
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.