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 Somalia and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 Tokyo and Taipei.
I'm losing my edge to the art-school Lyon 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 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 La Düsseldorf to the jazz kids.
I played it at the 40 Watt.
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 Neu!. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
The Seeds,
The Angels of Light,
Motorama,
Harpers Bizarre,
Crispian St. Peters,
Franke,
The Fugs,
DeepChord presents Echospace,
Sonny Sharrock,
John Holt,
Aural Exciters,
Black Bananas,
EPMD,
Gil Scott-Heron and Jamie xx,
The Stooges,
Sonic Youth,
Kayak,
Pussy Galore,
The Peanut Butter Conspiracy,
Desert Stars,
David Axelrod,
Anthony Braxton,
Interpol,
Sun Ra Arkestra,
Marcia Griffiths,
Accadde A,
Rahsaan Roland Kirk,
Pierre Henry,
Ronan,
Lyres,
London Community Gospel Choir,
Henry Cow,
Deakin,
F. McDonald,
Soul Sonic Force,
The Monks,
Girls At Our Best!,
Tropical Tobacco,
Dorothy Ashby,
The Mojo Men,
Essential Logic,
The Sonics,
Max Romeo,
Sunsets and Hearts,
Siglo XX,
U.S. Maple,
Aaron Thompson,
The Detroit Cobras,
Louis and Bebe Barron,
Visionaries,LMNO, T- Love & Iriscience,
Albert Ayler,
Das Ding,
Pulsallama,
Bootsy Collins,
Icehouse,
Kerri Chandler,
Red Lorry Yellow Lorry,
Davy DMX,
kango's stein massive,
The Sound,
Bobby Womack,
Jeru the Damaja,
The Offenders,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.