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 Thailand and from Paris.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Lagos 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Robert Görl to the grunge 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 Ornette Coleman. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Tomorrow,
Cabaret Voltaire,
The Names,
X-Ray Spex,
Excepter,
Half Japanese,
Brand Nubian,
Bobby Womack,
Tropical Tobacco,
Audionom,
Liliput,
Kauko Röyhkä ja Narttu,
The Red Krayola,
Andrew Hill,
LL Cool J,
the Germs,
Q and Not U,
Thinking Fellers Union Local 282,
PIL,
The Martian,
Ornette Coleman,
Schoolly D,
Swans,
Television Personalities,
Symarip,
Reuben Wilson,
Sight & Sound,
Shuggie Otis,
Chrome,
Tres Demented,
Zero Boys,
The Misunderstood,
Livin' Joy,
Shoche,
Fort Wilson Riot,
World's Most,
Glenn Branca,
Eve St. Jones,
Terry Callier,
Fad Gadget,
Malaria!,
Avey Tare's Slasher Flicks,
The Offenders,
The Blues Magoos,
John Cale,
Kango’s Stein Massive,
Main Source,
The Cramps,
Joy Division,
Brass Construction,
The Victims,
B.T. Express,
Nico,
Au Pairs,
Ohio Players,
Agent Orange,
Selector Dub Narcotic,
The Monks,
the Human League, the Human League, the Human League, the Human League.
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.