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 Mongolia and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 guitar 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 Sound Behaviour 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 Soulsonic Force. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Vainqueur,
Gang Gang Dance,
The Doors,
The Detroit Cobras,
Larry & the Blue Notes,
Agent Orange,
Jandek,
X-102,
Technova,
June of 44,
The Cure,
The Mummies,
One Last Wish,
Masters at Work,
Public Enemy,
Chris & Cosey,
Country Teasers,
Cecil Taylor,
Junior Murvin,
Deutsch Amerikanische Freundschaft,
Anthony Braxton,
Sight & Sound,
Ken Boothe,
Magazine,
DJ Sneak,
The Walker Brothers,
ABC,
Louis and Bebe Barron,
Black Sheep,
Visage,
Black Pus,
Jerry's Kids,
Second Layer,
Reagan Youth,
Kenny Larkin,
Tropical Tobacco,
The Golliwogs,
Country Joe & The Fish,
Blancmange,
Archie Shepp,
Soul II Soul,
Susan Cadogan,
Lakeside,
The Dave Clark Five,
Angels of Light & Akron/Family,
Crooked Eye,
Jeff Mills,
Tommy Roe,
Terry Callier,
Notorious BIG live in Amsterdam,
Faraquet,
Traffic Nightmare,
The Mojo Men,
Harpers Bizarre,
Crime,
Electric Light Orchestra,
The American Breed,
Anakelly,
Peter and Kerry,
UT,
Joensuu 1685,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.