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 Niger and from Madrid.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Houston and Salvador.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Peter and Kerry to the dance kids.
I played it at the Astoria.
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 Zapp. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Unrelated Segments,
David McCallum,
Lucky Dragons,
Bill Wells,
Fluxion,
Delta 5,
Banda Bassotti,
Symarip,
Janne Schatter,
Cheater Slicks,
Dave Gahan,
The Residents,
Skriet,
Lafayette Afro Rock Band,
Sonic Youth,
Shoche,
The Cure,
Ultramagnetic MC's,
Rufus Thomas,
Nick Fraelich,
Johnny Clarke,
Trumans Water,
Scion,
Sunsets and Hearts,
Gang Gang Dance,
Nirvana,
Lindisfarne,
The Remains,
ABBA,
The Busters,
MC5,
Black Bananas,
The Moody Blues,
Sällskapet,
The Fall,
Louis and Bebe Barron,
Todd Rundgren,
Piero Umiliani,
Rapeman,
Deepchord,
Basic Channel,
Super Lover Cee & Casanova Rud,
World's Most,
Hoover,
Godley & Creme,
Easy Going,
D'Angelo,
Electric Light Orchestra,
Vladislav Delay,
Don Cherry,
Kings Of Tomorrow,
Bill Near,
Quantec,
Cal Tjader,
Moby Grape,
Beasts of Bourbon,
Zapp,
Shuggie Otis,
Depeche Mode,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.