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 Saudi Arabia and from Beijing.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Curtis Mayfield to the punk 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 Sex Pistols. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Sun Ra Arkestra 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
The Selecter,
Half Japanese,
Reuben Wilson,
Chris & Cosey,
Youth Brigade,
MC5,
PIL,
Rhythm & Sound,
Aural Exciters,
The Last Poets,
Pagans,
Delon & Dalcan,
Marmalade,
Flash Fearless,
the Bar-Kays,
The Cure,
Radio Birdman,
Icehouse,
Sarah Menescal,
The Leaves,
The Barracudas,
In Retrospect,
The Golliwogs,
James White and The Blacks,
Gang Starr,
The Cowsills,
Soft Machine,
De La Soul & Jungle Brothers,
Liliput,
U.S. Maple,
Underground Resistance,
Rotary Connection,
Ajijia Myrayebe,
Adolescents,
The Grass Roots,
The Young Rascals,
Sonny Sharrock,
Justin Hinds & The Dominoes,
Pole,
Sight & Sound,
Nas,
Judy Mowatt,
Mantronix,
Harmonia,
Average White Band,
Letta Mbulu,
Young Marble Giants,
These Immortal Souls,
X-101,
the Association,
Nik Kershaw,
the Swans,
Moebius,
Absolute Body Control,
Amazonics,
Inner City,
Crash Course in Science,
Röyhkä ja Rättö ja Lehtisalo,
F. McDonald,
Flamin' Groovies,
Ronan,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.