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 Azerbaijan and from Bologna.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school Milan 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 theremin sounds with much patience.
I was there when Michael McDonald 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 New York Dolls to the dance kids.
I played it at the Astoria.
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 Standells. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo 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 '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
The Electric Prunes,
Tom Boy,
La Düsseldorf,
Grauzone,
Robert Hood,
the Association,
Ronan,
Rowland S Howard / Lydia Lunch,
Mo-Dettes,
Hot Snakes,
Jerry's Kids,
Fort Wilson Riot,
Jandek,
The Raincoats,
John Coltrane,
Moebius,
The Fortunes,
The Motions,
Don Cherry,
Metal Thangz,
Prince Buster,
Albert Ayler,
The Zeros,
Graham Central Station,
AZ,
Panda Bear,
Sound Behaviour,
Jawbox,
Kool G Rap & DJ Polo,
Kool Moe Dee,
Arthur Verocai,
Flamin' Groovies,
Icehouse,
The Standells,
Quadrant,
Amon Düül,
Deepchord,
Neil Young & Crazy Horse,
The Fuzztones,
Oneida,
Cluster,
Y Pants,
Deutsch Amerikanische Freundschaft,
Sam Rivers,
Flash Fearless,
Aaron Thompson,
Accadde A,
Scrapy,
Hasil Adkins,
Jacques Brel,
Radiohead,
Captain Beefheart & His Magic Band,
Cymande,
Sticky Fingaz feat. Raekwon,
Toni Rubio,
Rufus Thomas,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.