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 Benin and from Bologna.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Portland 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 oboe 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 Louis and Bebe Barron to the rock kids.
I played it at the Hacienda.
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 Alice Coltrane. All the underground hits.
All Jeff Lynne tracks. I heard you have a vinyl of every Marvin Gaye 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Harmonia,
Kurtis Blow,
The Count Five,
Slick Rick,
Sam Rivers,
Organ,
The Peanut Butter Conspiracy,
Gian Franco Pienzio,
Massinfluence,
The Divine Comedy,
Whodini,
Fad Gadget,
Rekid,
Drexciya,
Half Japanese,
Lee Hazlewood,
Brass Construction,
The Chocolate Watch Band,
Q and Not U,
Interpol,
Metal Thangz,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hashim,
The Skatalites,
Funky Four + One,
Cal Tjader,
Zapp,
Index,
a-ha,
Black Bananas,
The Beau Brummels,
Sun Ra Arkestra,
The Alarm Clocks,
Sex Pistols,
Eurythmics,
Depeche Mode,
Rufus Thomas,
The Residents,
Sight & Sound,
Moebius,
Brothers Johnson,
Josef K,
Sister Nancy,
Selector Dub Narcotic,
Archie Shepp,
Glenn Branca,
The Moody Blues,
Buzzcocks,
Dorothy Ashby,
The Victims,
Joyce Sims,
Yellowson,
Johnny Clarke,
Terror Squad Feat. Camron,
Neu!,
Intrusion,
Eric Copeland,
Qualms,
The Remains,
Barbara Tucker,
Henry Cow,
Robert Görl,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.