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 Bolivia and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Seoul 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 oboe sounds with much patience.
I was there when Lou Reed 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 Associates to the grunge kids.
I played it at CBGB's.
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 Stereo Dub. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Carl Craig 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Michelle Simonal,
8 Eyed Spy,
The Smoke,
Tears for Fears,
Danielle Patucci,
Moebius,
Cameo,
Sonny Sharrock,
Heavy D & The Boyz,
James Chance & The Contortions,
Simply Red,
Loose Ends,
Ultravox,
Sound Behaviour,
Scott Walker + Sunn O))),
the Germs,
Albert Ayler,
The Techniques,
Radiopuhelimet,
The Mojo Men,
Super Lover Cee & Casanova Rud,
The Beau Brummels,
Nas,
Aaron Thompson,
Arthur Verocai,
Bob Dylan,
Cal Tjader,
Lakeside,
La Düsseldorf,
Wally Richardson,
De La Soul & Jungle Brothers,
The Buckinghams,
Matthew Bourne,
Eve St. Jones,
Stockholm Monsters,
Parry Music,
H. Thieme,
Supertramp,
Siglo XX,
Deadbeat,
Marshall Jefferson,
Toni Rubio,
the Human League,
Ten City,
Fatback Band,
Bizarre Inc.,
Quando Quango,
Girls At Our Best!,
Make Up,
Grey Daturas,
Pharoah Sanders,
Amon Düül,
Kool G Rap & DJ Polo,
Model 500,
Cluster,
the Association,
Animal Collective,
The Residents,
Darondo,
Roger Hodgson,
Fifty Foot Hose,
Magma, Magma, Magma, Magma.
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.