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 Albania and from Portland.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1971.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Houston 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Detroit Cobras to the dance kids.
I played it at the Hacienda.
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 Lou Reed & Metallica. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Lungfish,
Babytalk,
The Martian,
June Days,
Trumans Water,
David Axelrod,
Echospace,
Darondo,
Siouxsie and the Banshees,
Ohio Players,
Porter Ricks,
Aural Exciters,
Deutsch Amerikanische Freundschaft,
Rotary Connection,
Wasted Youth,
Maleditus Sound,
Wire,
Al Stewart,
Lebanon Hanover,
Sticky Fingaz feat. Raekwon,
It's A Beautiful Day,
The Fugs,
Crispy Ambulance,
Wally Richardson,
Magma,
Barrington Levy,
The Selecter,
La Düsseldorf,
Unrelated Segments,
The Human League,
Bobbi Humphrey,
Girls At Our Best!,
Terrestrial Tones,
The United States of America,
Rekid,
James White and The Blacks,
Zapp,
Kango’s Stein Massive,
Minutemen,
The Angels of Light,
Sam Rivers,
Lou Reed & Metallica,
The Peanut Butter Conspiracy,
The Doors,
The Gun Club,
Eurythmics,
Yusef Lateef,
Harry Pussy,
Nirvana,
Magazine,
Whodini,
Bootsy's Rubber Band,
the Fania All-Stars,
Notorious BIG live in Amsterdam,
Teenage Jesus and the Jerks,
The Gladiators,
The Victims,
Television,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.