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 Armenia and from Johannesburg.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school London 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Joey Negro 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 X-102. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Kerri Chandler,
The Count Five,
Rites of Spring,
Brick,
Matthew Halsall,
Yellowson,
Ultimate Spinach,
Lebanon Hanover,
Johnny Osbourne,
Can,
Little Man,
cv313,
Don Cherry,
Moss Icon,
Monolake,
Audionom,
Barclay James Harvest,
Das Ding,
The Invisible,
Niagra,
the Swans,
Royal Trux,
B.T. Express,
Archie Shepp,
Black Pus,
Johnny Clarke,
The Smoke,
The Wake,
The Fire Engines,
Sound Behaviour,
Joensuu 1685,
10cc,
Orchestral Manoeuvres in the Dark,
Negative Approach,
Funky Four + One,
Heavy D & The Boyz,
Massinfluence,
Spandau Ballet,
Gang Green,
Essential Logic,
John Lydon,
Dark Day,
Fela Kuti,
Jacques Brel,
The Standells,
Depeche Mode,
Laurel Aitken,
X-102,
Japan,
Man Eating Sloth,
Lindisfarne,
Althea and Donna,
Marcia Griffiths,
The Misunderstood,
Pulsallama,
Parry Music,
James White and The Blacks,
Animal Collective,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.