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 Kyrgyzstan and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1977.
I'm losing my edge.
To all the kids in Paris and Edmonton.
I'm losing my edge to the art-school Manila 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 clarinet 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 The Barracudas to the techno kids.
I played it at the 40 Watt.
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 Audionom. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Henry Cow,
Second Layer,
UT,
Moby Grape,
Ornette Coleman,
Lungfish,
ABC,
Blancmange,
Sparks,
The Cosmic Jokers,
Danielle Patucci,
Dual Sessions,
Lebanon Hanover,
Crispian St. Peters,
F. McDonald,
Urselle,
Andrew Hill,
Reagan Youth,
Camberwell Now,
Morten Harket,
Ohio Players,
De La Soul & Jungle Brothers,
The Electric Prunes,
Gerry Rafferty,
The Star Department,
10cc,
Aloha Tigers,
Anthony Braxton,
Electric Prunes,
Ponytail,
Amon Düül II,
Maleditus Sound,
Suicide,
The Alarm Clocks,
Stockholm Monsters,
Rod Modell,
Bill Near,
Patti Smith,
Con Funk Shun,
The Leaves,
Yazoo,
Throbbing Gristle,
Gong,
Jacques Brel,
The Residents,
The United States of America,
Audionom,
Blossom Toes,
Tom Boy,
Iggy Pop,
Visage,
Glambeats Corp.,
Donald Byrd,
Angry Samoans,
The Martian,
Roy Ayers Ubiquity,
Quando Quango,
The Mighty Diamonds,
The Chocolate Watch Band,
Pere Ubu,
Röyhkä ja Rättö ja Lehtisalo,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.