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 Gambia and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Shanghai 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 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 Black Sheep to the rock kids.
I played it at CBGB's.
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 Wasted Youth. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Moebius,
The Human League,
Andrew Ashong & Theo Parrish,
John Coltrane,
The Fortunes,
Judy Mowatt,
Ossler,
Angels of Light & Akron/Family,
The Modern Lovers,
Mo-Dettes,
L. Decosne,
The Wake,
Isaac Hayes,
Be Bop Deluxe,
Scan 7,
Qualms,
Marcia Griffiths,
Tubeway Army,
Dead Boys,
The Mighty Diamonds,
DeepChord presents Echospace,
Darondo,
La Düsseldorf,
Black Moon,
Mary Jane Girls,
Avey Tare & Kría Brekkan,
DNA,
Sound Behaviour,
Eurythmics,
The Star Department,
The Offenders,
Hot Snakes,
Rhythim Is Rhythim,
Leonard Cohen,
The Durutti Column,
The Barracudas,
Bill Wells,
Scrapy,
Inner City,
Whodini,
Funkadelic,
Eyeless In Gaza,
Blancmange,
Porter Ricks,
Shuggie Otis,
Kerri Chandler,
Laurel Aitken,
Underground Resistance,
Cameo,
Alice Coltrane,
Kevin Saunderson,
Funky Four + One,
Rakim,
Matthew Halsall,
Ten City,
Gastr Del Sol,
Rhythm & Sound,
Altered Images,
The Chocolate Watch Band,
Shoche,
Young Marble Giants,
The Shadows of Knight,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.