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 Indonesia and from Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school Cairo 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 guitar sounds with much patience.
I was there when David Bowie 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 Residents to the rock 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 the Association. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
The Slackers,
Boogie Down Productions,
Toni Rubio,
Rhythm & Sound,
Ossler,
Roxette,
Crash Course in Science,
Wings,
Pantaleimon,
The Walker Brothers,
the Sonics,
Tres Demented,
K-Klass,
Minnie Riperton,
Black Pus,
Hoover,
Grandmaster Flash and the Furious Five,
Pulsallama,
Urselle,
James Chance & The Contortions,
Sunsets and Hearts,
Jimmy McGriff,
The Standells,
Sly & The Family Stone,
Country Teasers,
Angels of Light & Akron/Family,
Alison Limerick,
Oneida,
Blossom Toes,
Thee Headcoats,
Henry Cow,
Moss Icon,
Gastr Del Sol,
Model 500,
Wally Richardson,
New York Dolls,
Matthew Halsall,
Symarip,
Isaac Hayes,
Sound Behaviour,
Piero Umiliani,
Ken Boothe,
Vladislav Delay,
Avey Tare's Slasher Flicks,
Shuggie Otis,
Eric Copeland,
Peter and Kerry,
Monks,
Q and Not U,
MDC,
The Five Americans,
Röyhkä ja Rättö ja Lehtisalo,
Dead Boys,
The Stooges,
Minutemen,
Warren Ellis,
The Electric Prunes,
Bang On A Can,
Judy Mowatt,
Yazoo,
Electric Prunes,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.