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 Guyana and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Paris and Lyon.
I'm losing my edge to the art-school Calgary 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Jeru the Damaja to the techno kids.
I played it at the Spitz.
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 Electric Light Orchestra. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Bootsy Collins 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Intrusion,
Whodini,
Yusef Lateef,
James White and The Blacks,
Flash Fearless,
Art Ensemble Of Chicago,
The Young Rascals,
Amon Düül II,
Underground Resistance,
Ultravox,
Marc Romboy vs. Booka Shade,
Hardrive,
The Music Machine,
Beasts of Bourbon,
Cameo,
Deadbeat,
Fela Kuti,
The Happenings,
Brick,
Fad Gadget,
Peter and Kerry,
Jawbox,
E-Dancer,
Inner City,
L. Decosne,
Swans,
Gang Green,
Sight & Sound,
Tommy Roe,
The Move,
Pet Shop Boys,
Half Japanese,
Motorama,
The Chocolate Watch Band,
The Gap Band,
Leonard Cohen,
The Smoke,
Amazonics,
Eurythmics,
Minny Pops,
James Chance & The Contortions,
A Certain Ratio,
Public Image Ltd.,
The Sonics,
Niagra,
a-ha,
48th St. Collective,
A Flock of Seagulls,
Funky Four + One,
Teenage Jesus and the Jerks,
Grey Daturas,
Cal Tjader,
Radiopuhelimet,
Television,
Unrelated Segments,
The Trojans,
Matthew Halsall,
Ralphi Rosario,
Nation of Ulysses,
cv313,
The Monks,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.