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 Moldova 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 1966 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Tehran 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 The Sisters of Mercy to the grunge kids.
I played it at the 40 Watt.
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 Wally Richardson. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kauko Röyhkä ja Narttu record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Archie Shepp,
Section 25,
Juan Atkins,
Excepter,
Cabaret Voltaire,
Laurel Aitken,
The Busters,
Marine Girls,
the Normal,
LL Cool J,
The Electric Prunes,
Lindisfarne,
Brothers Johnson,
MDC,
Johnny Osbourne,
Marmalade,
Howard Jones,
The Birthday Party,
Aural Exciters,
The Searchers,
Radiopuhelimet,
Nick Cave & The Bad Seeds,
Anthony Braxton,
Lalann,
Lou Reed,
Symarip,
Gil Scott-Heron and Jamie xx,
Marc Almond,
Davy DMX,
Sällskapet,
Ultra Naté,
Stockholm Monsters,
La Düsseldorf,
Larry & the Blue Notes,
Second Layer,
Grey Daturas,
Radio Birdman,
Nation of Ulysses,
Cymande,
Danielle Patucci,
the Swans,
The Wake,
The Happenings,
The Gun Club,
Brass Construction,
Liaisons Dangereuses,
Bootsy's Rubber Band,
The Fire Engines,
Cluster,
ABC,
Shuggie Otis,
the Association,
B.T. Express,
Bad Manners,
the Slits,
Tomorrow,
48th St. Collective,
Negative Approach,
Eddi Front,
The Music Machine,
The Slits, The Slits, The Slits, The Slits.
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.