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 Portugal and from Tehran.
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 1966 to 1972.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Cairo 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Faust to the funk 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 Niagra. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone 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?
Janne Schatter,
Robert Hood,
Con Funk Shun,
Lakeside,
Magma,
Porter Ricks,
Radiopuhelimet,
The Seeds,
The Peanut Butter Conspiracy,
Dorothy Ashby,
Crooked Eye,
The Real Kids,
Thee Headcoats,
John Foxx,
Throbbing Gristle,
Fear,
Sugar Minott,
June Days,
Rowland S Howard / Lydia Lunch,
Stetsasonic,
Agent Orange,
Black Moon,
Roger Hodgson,
Brothers Johnson,
Teenage Jesus and the Jerks,
Monks,
Kango’s Stein Massive,
Rosa Yemen,
Yaz,
Brass Construction,
Spoonie Gee,
Boogie Down Productions,
Röyhkä ja Rättö ja Lehtisalo,
Minutemen,
Lebanon Hanover,
DeepChord presents Echospace,
Kayak,
Eurythmics,
The Mummies,
The Fortunes,
Hasil Adkins,
Rites of Spring,
The Blues Magoos,
the Human League,
Colin Newman,
The American Breed,
The Human League,
Lonnie Liston Smith,
Magazine,
The Pop Group,
The Dave Clark Five,
Shuggie Otis,
Accadde A,
Adolescents,
Andrew Ashong & Theo Parrish,
Henry Cow,
K-Klass,
Gil Scott-Heron & Brian Jackson,
Captain Beefheart & His Magic Band,
Parry Music,
Jacques Brel,
UT, UT, UT, UT.
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.