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 Tajikistan and from Portland.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Copenhagen.
I'm losing my edge to the art-school Lille 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 Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Sugar Minott to the techno kids.
I played it at the Spitz.
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 Charles Mingus. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Bronski Beat 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Young Rascals record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Bill Wells,
Circle Jerks,
The Smiths,
Rowland S Howard / Lydia Lunch,
Steve Hackett,
Arthur Verocai,
Sister Nancy,
Severed Heads,
Aswad,
Avey Tare,
Derrick Morgan,
Harpers Bizarre,
Chris & Cosey,
David Axelrod,
Pharoah Sanders,
Ronan,
Fat Boys,
Country Teasers,
Art Ensemble Of Chicago,
Chrome,
Teenage Jesus and the Jerks,
Tubeway Army,
Grandmaster Flash and the Furious Five,
Black Flag,
Alice Coltrane,
Jerry's Kids,
Maurizio,
Minutemen,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
New Order,
The Move,
Dawn Penn,
Japan,
Sixth Finger,
Stiv Bators,
Wally Richardson,
UT,
Grauzone,
Deakin,
Major Organ And The Adding Machine,
Pussy Galore,
Idris Muhammad,
Banda Bassotti,
Hoover,
Zero Boys,
Josef K,
The Remains,
The Pretty Things,
James White and The Blacks,
Soul Sonic Force,
The Chocolate Watch Band,
DNA,
Danielle Patucci,
The Neon Judgement,
The Moleskins,
Eurythmics,
Kas Product,
Black Pus,
Kool Moe Dee,
Moebius,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.