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 Israel and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Cairo and Accra.
I'm losing my edge to the art-school Stockholm 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 Captain Beefheart 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 Altered Images to the punk kids.
I played it at the Roxy.
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 Swans. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Khruangbin,
Camouflage,
Faraquet,
Cameo,
Dennis Brown,
Ultra Naté,
Sexual Harrassment,
Junior Murvin,
Gary Puckett & The Union Gap,
The Slits,
Interpol,
Scratch Acid,
Gastr Del Sol,
Man Eating Sloth,
Joe Smooth,
Gregory Isaacs,
Robert Görl,
The Searchers,
Reagan Youth,
Grandmaster Flash and the Furious Five,
OOIOO,
Bobbi Humphrey,
Banda Bassotti,
Roy Ayers,
The Vogues,
A Flock of Seagulls,
Matthew Bourne,
Ludus,
Cabaret Voltaire,
Sixth Finger,
X-101,
Sällskapet,
Public Image Ltd.,
Stiv Bators,
Cybotron,
Kevin Saunderson,
10cc,
DJ Style,
Amon Düül,
John Lydon,
Desert Stars,
Procol Harum,
Teenage Jesus and the Jerks,
Avey Tare's Slasher Flicks,
Howard Jones,
L. Decosne,
The Durutti Column,
Vaughan Mason & Crew,
Ash Ra Tempel,
Robert Hood,
Urselle,
James White and The Blacks,
Neu!,
The Offenders,
Livin' Joy,
Curtis Mayfield,
Soulsonic Force,
Tomorrow,
Main Source, Main Source, Main Source, Main Source.
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.