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 Papua New Guinea and from Woodstock.
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 1972.
I'm losing my edge.
To all the kids in Toronto and Accra.
I'm losing my edge to the art-school Seoul 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 Throbbing Gristle practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Vladislav Delay to the jazz kids.
I played it at the Roxy.
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 Bauhaus. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every Kas Product 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
X-Ray Spex,
Glambeats Corp.,
Pharaoh Sanders and the Fire Engines,
Minny Pops,
Grandmaster Flash and the Furious Five,
Sexual Harrassment,
Sällskapet,
Chrome,
Black Bananas,
John Lydon,
Rotary Connection,
Fugazi,
Mars,
Morten Harket,
Masters at Work,
Gary Puckett & The Union Gap,
Manfred Mann's Earth Band,
Minutemen,
Hardrive,
Bang on a Can All-Stars,
Negative Approach,
Charles Mingus,
Royal Trux,
Q and Not U,
Jeru the Damaja,
World's Most,
Skriet,
Second Layer,
Eurythmics,
Donald Byrd,
Andrew Hill,
Minor Threat,
Bootsy's Rubber Band,
X-101,
Matthew Bourne,
The Smoke,
The Flesh Eaters,
Pulsallama,
The Music Machine,
Echospace,
The Star Department,
It's A Beautiful Day,
Nas,
Ossler,
Hot Snakes,
Vainqueur,
Easy Going,
Soul Sonic Force,
The Mummies,
Pagans,
The Blues Magoos,
Wighnomy Brothers & Robag Wruhme,
Brick,
Cecil Taylor,
Rites of Spring,
Average White Band,
Sonny Sharrock,
Wally Richardson,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.