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 Sweden and from Edmonton.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Bologna 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 arpeggiator 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 Idris Muhammad to the rap kids.
I played it at the Roxy.
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 Black Moon. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal disco 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
FM Einheit,
Royal Trux,
Tim Buckley,
The Last Poets,
Eden Ahbez,
The Flesh Eaters,
Siglo XX,
Chris & Cosey,
Bizarre Inc.,
The Victims,
Qualms,
Heaven 17,
Arcadia,
The Cramps,
Cybotron,
Anakelly,
Dual Sessions,
Arab on Radar,
Ponytail,
Idris Muhammad,
The Fire Engines,
Eric Dolphy,
Pole,
Joey Negro,
John Cale,
Manfred Mann's Earth Band,
Mary Jane Girls,
Soulsonic Force,
Urselle,
Aaron Thompson,
Nils Olav,
Agitation Free,
The Knickerbockers,
Spandau Ballet,
Roy Ayers,
Tubeway Army,
Second Layer,
Sun Ra Arkestra,
Rakim,
Jesper Dahlback,
Vainqueur,
Charles Mingus,
Nirvana,
Oppenheimer Analysis,
Little Man,
The Motions,
The Young Rascals,
Pantytec,
Susan Cadogan,
Röyhkä ja Rättö ja Lehtisalo,
Orchestral Manoeuvres in the Dark,
The Residents,
The Fall,
The New Christs,
JFA,
Todd Terry,
Sun Ra,
The Doobie Brothers,
Sly & The Family Stone,
Ossler,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.