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 Indonesia and from New York.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Manchester and Seoul.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb 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 Throbbing Gristle to the techno kids.
I played it at the Troubador.
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 Move. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Joey Negro,
Ralphi Rosario,
Saccharine Trust,
The Moody Blues,
Sun Ra Arkestra,
Accadde A,
Pharoah Sanders,
Röyhkä ja Rättö ja Lehtisalo,
Neil Young,
Eli Mardock,
Section 25,
Thinking Fellers Union Local 282,
Negative Approach,
Malaria!,
KRS-One,
Terry Callier,
The Selecter,
John Holt,
Kango’s Stein Massive,
Crash Course in Science,
Half Japanese,
Angels of Light & Akron/Family,
Joe Finger,
Rekid,
Peter & Gordon,
Black Pus,
Be Bop Deluxe,
The Skatalites,
T. Rex,
Louis and Bebe Barron,
Altered Images,
Supertramp,
the Sonics,
Clear Light,
Bootsy's Rubber Band,
The Motions,
Gong,
Kauko Röyhkä ja Narttu,
David Bowie,
Urselle,
Chris & Cosey,
Notorious Big And Bone Thugs,
Matthew Bourne,
Nico,
Mantronix,
AZ,
Panda Bear,
Wings,
Hasil Adkins,
Can,
Bizarre Inc.,
Sex Pistols,
Q and Not U,
Crispian St. Peters,
Super Lover Cee & Casanova Rud,
Sad Lovers and Giants,
Ice-T,
Lindisfarne,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.