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 Libya and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Salvador and Seoul.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer 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 Soul Sonic Force to the grunge 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 Bill Wells. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Soft Machine 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Angry Samoans,
Strawberry Alarm Clock,
Donald Byrd,
Mantronix,
The Misunderstood,
Isaac Hayes,
Reuben Wilson,
De La Soul & Jungle Brothers,
Angels of Light & Akron/Family,
Grauzone,
The Detroit Cobras,
Heaven 17,
The Index,
Alphaville,
Pete Rock & C.L. Smooth,
Magma,
Pulsallama,
B.T. Express,
Jeru the Damaja,
Man Parrish,
Trumans Water,
Grandmaster Flash and the Furious Five,
Q65,
Girls At Our Best!,
Boredoms,
Blancmange,
The Blues Magoos,
Radiohead,
Patti Smith,
Outsiders,
Max Romeo,
The Alarm Clocks,
Index,
Kaleidoscope,
the Slits,
Marmalade,
Masters at Work,
Kerrie Biddell,
Joe Finger,
In Retrospect,
The Last Poets,
Negative Approach,
Unrelated Segments,
Fad Gadget,
Kauko Röyhkä ja Narttu,
Red Lorry Yellow Lorry,
Throbbing Gristle,
the Swans,
Jacques Brel,
Supertramp,
La Düsseldorf,
K-Klass,
Dorothy Ashby,
Sound Behaviour,
The Smoke,
Gichy Dan,
Glenn Branca,
The Dave Clark Five,
Minor Threat,
Bizarre Inc.,
Neil Young & Crazy Horse,
Television,
Fear, Fear, Fear, Fear.
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.