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 Guatemala 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 1968 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Spokane 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Pantytec to the rock 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 The Searchers. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Neil Young,
Sound Behaviour,
Joyce Sims,
Gregory Isaacs,
The Velvet Underground,
The Pop Group,
Ornette Coleman,
Deakin,
Jacob Miller,
D'Angelo,
The Fortunes,
The Move,
The Monks,
Toni Rubio,
Banda Bassotti,
Sister Nancy,
Guru Guru,
Delta 5,
Roxette,
Laurel Aitken,
Cymande,
Chrome,
Glenn Branca,
Electric Prunes,
8 Eyed Spy,
Minny Pops,
Rakim,
Sarah Menescal,
The Black Dice,
David Bowie,
The Mighty Diamonds,
Groovy Waters,
Essential Logic,
Basic Channel,
Spoonie Gee,
Rufus Thomas,
Neil Young & Crazy Horse,
Lou Christie,
The Saints,
Crash Course in Science,
Ajijia Myrayebe,
Ohio Players,
Joensuu 1685,
Marine Girls,
Rowland S Howard / Lydia Lunch,
Arcadia,
Strawberry Alarm Clock,
Soft Cell,
Lizzy Mercier Descloux,
Agitation Free,
Man Eating Sloth,
Robert Hood,
Graham Central Station,
Bobby Sherman,
The Monochrome Set,
Bang on a Can All-Stars,
Marvin Gaye,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.