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 Kyrgyzstan and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Accra.
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 harpsichord 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 Agent Orange to the electroclash 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 Hasil Adkins. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Tomorrow 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Negative Approach,
John Cale,
Kango’s Stein Massive,
Blossom Toes,
Jawbox,
The Zeros,
Ken Boothe,
cv313,
Crooked Eye,
Quadrant,
Peter & Gordon,
Nico,
Public Enemy,
World's Most,
Bush Tetras,
Depeche Mode,
Cal Tjader,
Toni Rubio,
Black Moon,
The Doors,
The Moody Blues,
Clear Light,
a-ha,
David Axelrod,
Oneida,
Rahsaan Roland Kirk,
Q and Not U,
The Gun Club,
Arthur Verocai,
Boredoms,
Larry & the Blue Notes,
Charles Mingus,
The Chocolate Watch Band,
Echospace,
Television,
Alice Coltrane,
Ultravox,
Grandmaster Flash,
Cecil Taylor,
Matthew Bourne,
The Slits,
Traffic Nightmare,
The Monks,
Das Ding,
Bobbi Humphrey,
Rowland S Howard / Lydia Lunch,
Stiv Bators,
the Fania All-Stars,
Funkadelic,
The Leaves,
London Community Gospel Choir,
Kerrie Biddell,
Skarface,
Tears for Fears,
Magazine,
Josef K,
Minor Threat,
Archie Shepp,
Sexual Harrassment,
The Kinks,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.