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 Lebanon 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 1963 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Calgary.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Glenn Branca to the techno kids.
I played it at the Hacienda.
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 Desert Stars. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Mark Hollis,
The Knickerbockers,
The Litter,
Ponytail,
Lungfish,
Super Lover Cee & Casanova Rud,
The Doobie Brothers,
Adolescents,
The Selecter,
Skaos,
The Music Machine,
Althea and Donna,
the Normal,
Japan,
Donny Hathaway,
Soft Machine,
Sight & Sound,
Pere Ubu,
JFA,
Scan 7,
The Fuzztones,
Nick Cave & The Bad Seeds,
Josef K,
Bob Dylan,
Urselle,
Eli Mardock,
Avey Tare & Kría Brekkan,
The Star Department,
Mandrill,
Guru Guru,
Minutemen,
Aaron Thompson,
Liliput,
Harmonia,
Eden Ahbez,
Ohio Players,
Michelle Simonal,
Pole,
Von Mondo,
Bill Wells,
Art Ensemble Of Chicago,
The Smiths,
The Vogues,
The Smoke,
Chrome,
Liaisons Dangereuses,
Sly & The Family Stone,
Funkadelic,
The West Coast Pop Art Experimental Band,
Underground Resistance,
the Bar-Kays,
Hardrive,
The Seeds,
Johnny Osbourne,
Scientists,
Amazonics,
Steve Hackett,
Newcleus,
Goldenarms,
Section 25,
Alice Coltrane,
The Leaves, The Leaves, The Leaves, The Leaves.
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.