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 Brazil and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Glenn Branca to the disco kids.
I played it at the Crocodile.
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 Flipper. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Bauhaus,
The Remains,
Saccharine Trust,
Roxette,
B.T. Express,
Anthony Braxton,
Brothers Johnson,
Rekid,
T. Rex,
Hashim,
Monks,
Sam Rivers,
Deepchord,
A Certain Ratio,
Richard Hell and the Voidoids,
Larry & the Blue Notes,
L. Decosne,
Little Man,
Kas Product,
Notorious BIG live in Amsterdam,
John Holt,
Man Parrish,
Lebanon Hanover,
Arab on Radar,
Heavy D & The Boyz,
K-Klass,
Steve Hackett,
JFA,
The Toasters,
Al Stewart,
Q65,
Simply Red,
John Cale,
Pete Rock & C.L. Smooth,
Porter Ricks,
Hardrive,
Mission of Burma,
Rod Modell,
Bang On A Can,
The Golliwogs,
The Beau Brummels,
Skarface,
Anakelly,
The Gun Club,
Schoolly D,
The Fall,
Ultramagnetic MC's,
Babytalk,
This Heat,
the Slits,
Avey Tare's Slasher Flicks,
Camouflage,
Crispian St. Peters,
The Sound,
ABC,
The Monochrome Set,
Scratch Acid,
The Move,
Bad Manners,
Urselle, Urselle, Urselle, Urselle.
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.