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 Dominica and from Delhi.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school Spokane 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 David Bowie 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 Public Enemy to the grunge kids.
I played it at the 40 Watt.
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 Underground Resistance. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Pole,
Subhumans,
Bootsy Collins,
Marcia Griffiths,
The Moleskins,
Tropical Tobacco,
Wally Richardson,
Young Marble Giants,
The Raincoats,
Smog,
Underground Resistance,
Shuggie Otis,
Don Cherry,
Janne Schatter,
Marc Almond,
Schoolly D,
FM Einheit,
48th St. Collective,
Japan,
Kings Of Tomorrow,
Echo & the Bunnymen,
Albert Ayler,
The Electric Prunes,
Heaven 17,
Harpers Bizarre,
Selector Dub Narcotic,
The Selecter,
10cc,
The Fugs,
T.S.O.L.,
Cymande,
Faraquet,
Y Pants,
Bang on a Can All-Stars,
Johnny Clarke,
Tubeway Army,
Public Enemy,
Depeche Mode,
Sex Pistols,
Mad Mike,
The Five Americans,
Barbara Tucker,
The Blues Magoos,
The Stooges,
Vladislav Delay,
The Birthday Party,
Arab on Radar,
Ponytail,
Adolescents,
Rakim,
The Techniques,
Guru Guru,
Goldenarms,
The Cramps,
Mission of Burma,
Lafayette Afro Rock Band,
Rowland S Howard / Lydia Lunch,
Banda Bassotti,
The Red Krayola,
Alphaville, Alphaville, Alphaville, Alphaville.
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.