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 Ethiopia and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1975.
I'm losing my edge.
To all the kids in Seoul and Taipei.
I'm losing my edge to the art-school Milan 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 Nation of Ulysses to the rap kids.
I played it at Trash.
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 Faraquet. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Bobby Womack 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Agent Orange,
The Victims,
Gian Franco Pienzio,
Simply Red,
Bobby Womack,
Davy DMX,
Angels of Light & Akron/Family,
Youth Brigade,
Monolake,
Archie Shepp,
The Mighty Diamonds,
Magma,
The Skatalites,
Reuben Wilson,
Popol Vuh,
Supertramp,
Lightning Bolt,
Drexciya,
Bobbi Humphrey,
Joy Division,
B.T. Express,
The Beau Brummels,
The Doors,
D'Angelo,
Pylon,
Barclay James Harvest,
Duran Duran,
Sister Nancy,
The Moody Blues,
Pierre Henry,
Graham Central Station,
Second Layer,
Joe Smooth,
Teenage Jesus and the Jerks,
The Happenings,
X-102,
Grandmaster Flash,
Neil Young,
The Real Kids,
Ajijia Myrayebe,
Goldenarms,
Minnie Riperton,
The Cowsills,
Lizzy Mercier Descloux,
The Sonics,
Kango’s Stein Massive,
Excepter,
Sound Behaviour,
Section 25,
Absolute Body Control,
Con Funk Shun,
Nils Olav,
Minor Threat,
Wire,
Desert Stars,
Minutemen,
Lonnie Liston Smith,
Orchestral Manoeuvres in the Dark,
Bang On A Can,
The Alarm Clocks,
Delta 5, Delta 5, Delta 5, Delta 5.
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.