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 Swaziland and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school Winnipeg 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Neil Young & Crazy Horse to the rap kids.
I played it at Trash.
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 Thompson Twins. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Matthew Bourne,
Audionom,
Panda Bear,
Marc Almond,
Barbara Tucker,
Eric B and Rakim,
Rotary Connection,
The Divine Comedy,
Kool G Rap & DJ Polo,
Black Flag,
Mandrill,
Scott Walker,
Aswad,
Quadrant,
Art Ensemble Of Chicago,
Young Marble Giants,
Sparks,
The Residents,
Magazine,
Flash Fearless,
Crime,
Al Stewart,
Brass Construction,
Jerry's Kids,
Gregory Isaacs,
Eddi Front,
Mantronix,
Ludus,
Basic Channel,
the Bar-Kays,
Buzzcocks,
Oppenheimer Analysis,
The Mighty Diamonds,
The Sound,
These Immortal Souls,
Angry Samoans,
the Sonics,
Josef K,
Lou Reed & John Cale,
Adolescents,
Judy Mowatt,
Bobby Sherman,
Main Source,
The Slackers,
Girls At Our Best!,
Q65,
X-Ray Spex,
Flamin' Groovies,
The Modern Lovers,
the Swans,
The Leaves,
The Motions,
Pulsallama,
Icehouse,
Thinking Fellers Union Local 282,
Guru Guru,
Gil Scott Heron,
Aural Exciters,
Gichy Dan,
The Techniques,
Jesper Dahlbäck,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.