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 Kyrgyzstan and from Lyon.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Mumbai 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Victims to the grime kids.
I played it at the 40 Watt.
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 World's Most. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Suicide record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Major Organ And The Adding Machine,
Nation of Ulysses,
Brand Nubian,
Clear Light,
Bronski Beat,
Reuben Wilson,
Yaz,
Masters at Work,
Inner City,
Röyhkä ja Rättö ja Lehtisalo,
Procol Harum,
Charles Mingus,
Bob Dylan,
Audionom,
Quantec,
Television,
KRS-One,
Gong,
Junior Murvin,
In Retrospect,
Flash Fearless,
Harmonia,
Joey Negro,
The Music Machine,
The Mighty Diamonds,
Blake Baxter,
Pantytec,
Peter Gordon & Love of Life Orchestra,
The Pretty Things,
Dead Boys,
Teenage Jesus and the Jerks,
the Swans,
Ultravox,
The Misunderstood,
Flipper,
Siglo XX,
The Trojans,
Alison Limerick,
The Leaves,
Yellowson,
Interpol,
Funkadelic,
MC5,
The Zeros,
The Names,
Vaughan Mason & Crew,
Ultra Naté,
CMW,
Ituana,
Nick Fraelich,
Roy Ayers Ubiquity,
Jandek,
Ice-T,
The Techniques,
Soft Cell,
Piero Umiliani,
Can,
David McCallum,
The Count Five, The Count Five, The Count Five, The Count Five.
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.