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 Palau and from Philadelphia.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
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 1973 at the first Television practice in a loft in New York.
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 Howard Jones to the rock kids.
I played it at the Hacienda.
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 The Remains. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Gastr Del Sol record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Oppenheimer Analysis,
Rod Modell,
The Techniques,
Maleditus Sound,
Dorothy Ashby,
World's Most,
Angels of Light & Akron/Family,
Mo-Dettes,
Jawbox,
Rakim,
Magazine,
Yusef Lateef,
48th St. Collective,
Nick Fraelich,
Gang Green,
Livin' Joy,
Soulsonic Force,
Pagans,
F. McDonald,
Ituana,
Quantec,
JFA,
Radio Birdman,
The Wake,
Franke,
Mary Jane Girls,
L. Decosne,
Metal Thangz,
Qualms,
Big Daddy Kane,
Art Ensemble Of Chicago,
Black Moon,
The Motions,
Cecil Taylor,
Sister Nancy,
Icehouse,
The Gap Band,
Talk Talk,
Roy Ayers Ubiquity,
Parry Music,
Kayak,
Barry Ungar,
Louis and Bebe Barron,
Iggy Pop,
Althea and Donna,
These Immortal Souls,
Gabor Szabo,
Howard Jones,
Skarface,
Delta 5,
The Neon Judgement,
The Vogues,
The Buckinghams,
Joey Negro,
The Doors,
Basic Channel,
Agitation Free,
Tommy Roe,
D'Angelo,
Clear Light,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.