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 Afghanistan and from New York.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1970.
I'm losing my edge.
To all the kids in Seoul and Copenhagen.
I'm losing my edge to the art-school Toronto 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 Michael McDonald 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 Fugs to the grime kids.
I played it at Cafe Wha.
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 Associates. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
The Jesus and Mary Chain,
Fear,
Visionaries,LMNO, T- Love & Iriscience,
Max Romeo,
The West Coast Pop Art Experimental Band,
Rod Modell,
Avey Tare,
Glambeats Corp.,
Judy Mowatt,
Leonard Cohen,
B.T. Express,
Charles Mingus,
Patti Smith,
Ponytail,
London Community Gospel Choir,
ABC,
Magazine,
The Pop Group,
Dual Sessions,
The Mighty Diamonds,
Quando Quango,
The Names,
Richard Hell and the Voidoids,
Lou Reed & John Cale,
Byron Stingily,
Gian Franco Pienzio,
The Beau Brummels,
Model 500,
K-Klass,
Bluetip,
Barbara Tucker,
DJ Style,
Kas Product,
Neil Young,
Desert Stars,
Silicon Teens,
The Fortunes,
Toni Rubio,
The Sonics,
Hoover,
Darondo,
Lower 48,
Roger Hodgson,
Nick Cave & The Bad Seeds,
Duran Duran,
Angels of Light & Akron/Family,
Graham Central Station,
Barrington Levy,
Nation of Ulysses,
Lakeside,
Jerry Gold Smith,
Adolescents,
Eric B and Rakim,
Accadde A,
The J.B.'s,
DJ Sneak,
Los Fastidios,
Eurythmics,
Laurel Aitken,
D'Angelo,
a-ha,
Electric Light Orchestra,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.