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 Gabon and from Lille.
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 1971.
I'm losing my edge.
To all the kids in Edmonton and Bologna.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the 808 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 Wire to the disco kids.
I played it at the Troubador.
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 Johnny Osbourne. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth 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?
The West Coast Pop Art Experimental Band,
Popol Vuh,
Deadbeat,
Jacques Brel,
Mandrill,
The Jesus and Mary Chain,
K-Klass,
Red Lorry Yellow Lorry,
Groovy Waters,
The Fall,
Bad Manners,
The Mighty Diamonds,
Japan,
Con Funk Shun,
Yusef Lateef,
Pete Rock & C.L. Smooth,
Ronan,
Liaisons Dangereuses,
The Flesh Eaters,
Rekid,
Clear Light,
Deakin,
Warren Ellis,
Roy Ayers,
The Zeros,
cv313,
Au Pairs,
Ajijia Myrayebe,
Trumans Water,
Minny Pops,
Sister Nancy,
Patti Smith,
Nation of Ulysses,
Iggy Pop,
Davy DMX,
The Seeds,
Soul II Soul,
Yaz,
The Busters,
Lightning Bolt,
James White and The Blacks,
Ultra Naté,
Qualms,
Los Fastidios,
Grandmaster Flash and the Furious Five,
X-101,
Glenn Branca,
Gang Green,
Half Japanese,
The Kinks,
The Detroit Cobras,
Lower 48,
Nas,
Man Eating Sloth,
New Order,
Basic Channel,
Graham Central Station,
Amon Düül II,
Don Cherry,
the Bar-Kays,
Cecil Taylor,
Susan Cadogan,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.