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 Tajikistan and from Tehran.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Bremen.
I'm losing my edge to the art-school Woodstock 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 organ sounds with much patience.
I was there when Holger Czukay 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 Eyeless In Gaza to the funk 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 The Music Machine. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
The Angels of Light,
E-Dancer,
Ronnie Foster,
The West Coast Pop Art Experimental Band,
Deepchord,
Con Funk Shun,
Terrestrial Tones,
Loose Ends,
Peter Gordon & Love of Life Orchestra,
the Sonics,
Lee Hazlewood,
Wally Richardson,
The Smiths,
The Alarm Clocks,
Alton Ellis,
Das Ding,
Freddie Wadling,
Hot Snakes,
John Holt,
Marc Romboy vs. Booka Shade,
Eric Dolphy,
Ash Ra Tempel,
Scrapy,
Jacob Miller,
Tears for Fears,
CMW,
Skriet,
Sly & The Family Stone,
The Sonics,
Gabor Szabo,
The Blackbyrds,
Swans,
Nation of Ulysses,
The United States of America,
Pharaoh Sanders and the Fire Engines,
Barrington Levy,
Gang Starr,
London Community Gospel Choir,
Brand Nubian,
Kevin Saunderson,
Gary Puckett & The Union Gap,
Brick,
Easy Going,
Lightning Bolt,
The Doors,
The Motions,
Ituana,
Rites of Spring,
K-Klass,
Lower 48,
Avey Tare,
Rufus Thomas,
Sex Pistols,
Fifty Foot Hose,
Soft Cell,
Make Up,
Matthew Bourne,
Justin Hinds & The Dominoes,
Mo-Dettes,
Magazine,
The Pop Group,
Barbara Tucker,
10cc, 10cc, 10cc, 10cc.
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.