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 Afghanistan and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Lille and Stockholm.
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 clarinet 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 Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic to the punk kids.
I played it at the Hacienda.
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 Johnny Clarke. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Stereo Dub,
Kas Product,
Excepter,
Nirvana,
Crash Course in Science,
Deutsch Amerikanische Freundschaft,
Saccharine Trust,
Can,
Gastr Del Sol,
Flamin' Groovies,
Peter Gordon & Love of Life Orchestra,
Pere Ubu,
Ash Ra Tempel,
Rakim,
Sad Lovers and Giants,
China Crisis,
The Gun Club,
Danielle Patucci,
Todd Terry,
Monks,
Jerry Gold Smith,
Magazine,
Animal Collective,
Cybotron,
The Sonics,
MC5,
The Mummies,
Brass Construction,
Colin Newman,
Bang on a Can All-Stars,
Sex Pistols,
Orchestral Manoeuvres in the Dark,
Bluetip,
Ponytail,
Bobby Byrd,
Basic Channel,
Grandmaster Flash and the Furious Five,
Liaisons Dangereuses,
Faraquet,
John Coltrane,
Surgeon,
Interpol,
Minor Threat,
Bootsy Collins,
Boz Scaggs,
Louis and Bebe Barron,
Sound Behaviour,
Kauko Röyhkä ja Narttu,
Andrew Hill,
The United States of America,
Jeff Mills,
Aswad,
The Smiths,
Mad Mike,
UT,
Kool G Rap & DJ Polo,
Bobby Hutcherson,
Neu!,
Iggy Pop,
Ken Boothe,
Deepchord,
Liliput,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.