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 Tuvalu and from Lyon.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
I'm losing my edge to the art-school Tehran 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 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 Jawbox to the punk kids.
I played it at the Astoria.
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 Connie Case. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Slick Rick 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 a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
The Litter,
The Victims,
Peter & Gordon,
Patti Smith,
Delon & Dalcan,
Gil Scott-Heron & Brian Jackson,
Röyhkä ja Rättö ja Lehtisalo,
Glambeats Corp.,
ABBA,
The Dead C,
Panda Bear,
World's Most,
Black Sheep,
New York Dolls,
The Chocolate Watch Band,
Metal Thangz,
Scratch Acid,
Laurel Aitken,
The Smiths,
Ultimate Spinach,
Subhumans,
Country Teasers,
Althea and Donna,
The Doors,
Lucky Dragons,
Tropical Tobacco,
Eddi Front,
Prince Buster,
Terry Callier,
Slick Rick,
Radiopuhelimet,
John Coltrane,
Oppenheimer Analysis,
Leonard Cohen,
Rowland S Howard / Lydia Lunch,
Lyres,
Anthony Braxton,
Dr. Dre and Snoop Doggy Dog,
Heaven 17,
The Blues Magoos,
Lou Reed & John Cale,
Nas,
Nirvana,
Oneida,
Magazine,
Fugazi,
K-Klass,
JFA,
DeepChord presents Echospace,
John Lydon,
Quadrant,
Drive Like Jehu,
Janne Schatter,
Jesper Dahlback,
Gichy Dan,
Newcleus,
Scott Walker,
Sugar Minott,
Blake Baxter,
Livin' Joy,
Nation of Ulysses,
Q and Not U,
John Cale, John Cale, John Cale, John Cale.
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.