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 Oman and from Edmonton.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Eyeless In Gaza to the techno 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 Graham Central Station. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Rhythm & Sound 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Jacques Brel,
Lyres,
Goldenarms,
Pere Ubu,
Negative Approach,
Godley & Creme,
Suicide,
Isaac Hayes,
Banda Bassotti,
Blossom Toes,
The Men They Couldn't Hang,
Laurel Aitken,
The Detroit Cobras,
The Doors,
Manfred Mann's Earth Band,
Don Cherry,
Gichy Dan,
Bluetip,
OOIOO,
Nils Olav,
Teenage Jesus and the Jerks,
Siglo XX,
Andrew Ashong & Theo Parrish,
Ice-T,
Country Teasers,
Flipper,
Blancmange,
A Flock of Seagulls,
Schoolly D,
Patti Smith,
Hoover,
The Dead C,
Deepchord,
Man Eating Sloth,
Electric Prunes,
Clear Light,
Alison Limerick,
Ten City,
Rhythm & Sound,
Gregory Isaacs,
Neu!,
The Cure,
Oneida,
It's A Beautiful Day,
Byron Stingily,
Intrusion,
Eve St. Jones,
Avey Tare & Kría Brekkan,
Cabaret Voltaire,
Radio Birdman,
Ossler,
Cheater Slicks,
Avey Tare,
The Five Americans,
Japan,
The Fugs,
Scott Walker + Sunn O))),
Jesper Dahlback,
F. McDonald,
the Slits, the Slits, the Slits, the Slits.
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.