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 Colombia and from Shanghai.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Paris 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 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 Jeff Lynne to the electroclash 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 The American Breed. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Kauko Röyhkä ja Narttu,
Clear Light,
Marshall Jefferson,
the Normal,
The Gladiators,
Colin Newman,
Suburban Knight,
Minnie Riperton,
Essential Logic,
Teenage Jesus and the Jerks,
Leonard Cohen,
Tropical Tobacco,
Chris & Cosey,
Rod Modell,
the Germs,
Jeru the Damaja,
Harmonia,
Big Daddy Kane,
Yellowson,
The Martian,
Röyhkä ja Rättö ja Lehtisalo,
Pete Rock & C.L. Smooth,
Junior Murvin,
June of 44,
Lou Christie,
Interpol,
Q and Not U,
Josef K,
Young Marble Giants,
Ken Boothe,
The West Coast Pop Art Experimental Band,
Quadrant,
Supertramp,
Jacob Miller,
Public Image Ltd.,
Sparks,
Panda Bear,
Agitation Free,
Unrelated Segments,
The Cure,
The Skatalites,
Marc Almond,
Johnny Clarke,
Sun Ra,
Pharaoh Sanders and the Fire Engines,
The Star Department,
Depeche Mode,
The Jesus and Mary Chain,
Rites of Spring,
The Durutti Column,
The Fuzztones,
Dead Boys,
Lonnie Liston Smith,
Pharoah Sanders,
Robert Görl,
The Human League,
Hot Snakes,
DNA,
Grandmaster Flash and the Furious Five,
Donald Byrd,
The Fortunes,
The Happenings,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.