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 Palau and from Philadelphia.
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 1979.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Milan 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 at the first Suicide practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Ultra Naté to the rap 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 Brothers Johnson. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Sonic Youth 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Captain Beefheart & His Magic Band,
Tim Buckley,
X-101,
Public Enemy,
Rhythim Is Rhythim,
Major Organ And The Adding Machine,
Soul II Soul,
Half Japanese,
Matthew Bourne,
Scratch Acid,
Stereo Dub,
The Neon Judgement,
Pantytec,
Alton Ellis,
Clear Light,
Zero Boys,
The American Breed,
Joe Finger,
The Monks,
Andrew Hill,
Magma,
Moebius,
Derrick May,
John Lydon,
Bootsy Collins,
Sun City Girls,
Bobby Hutcherson,
Lebanon Hanover,
Sällskapet,
Essential Logic,
Albert Ayler,
Deutsch Amerikanische Freundschaft,
Soft Cell,
Drexciya,
Robert Hood,
Soulsonic Force,
Rufus Thomas,
Peter Gordon & Love of Life Orchestra,
Darondo,
Althea and Donna,
The Seeds,
Bang On A Can,
Sound Behaviour,
Roxy Music,
X-102,
The Men They Couldn't Hang,
Black Bananas,
New York Dolls,
Ultravox,
Alice Coltrane,
The Mojo Men,
The Beau Brummels,
Skarface,
Fear,
Section 25,
Kayak,
48th St. Collective,
Soft Machine,
Nils Olav,
Grandmaster Flash,
Metal Thangz,
Harpers Bizarre,
Gian Franco Pienzio,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.