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 Maldives and from Woodstock.
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 Milan and Mexico City.
I'm losing my edge to the art-school Columbus 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Angels of Light & Akron/Family to the grime 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 Con Funk Shun. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal jazz 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 a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Minutemen,
Dorothy Ashby,
Arab on Radar,
Eden Ahbez,
Pantaleimon,
The Vogues,
Hot Snakes,
The Slits,
The Knickerbockers,
cv313,
The Human League,
Anakelly,
Sex Pistols,
Silicon Teens,
The Toasters,
Jesper Dahlback,
Art Ensemble Of Chicago,
Strawberry Alarm Clock,
Amon Düül,
Ultra Naté,
Barrington Levy,
Junior Murvin,
Scott Walker,
Joy Division,
The Walker Brothers,
Average White Band,
T. Rex,
Lalann,
Drexciya,
The Pop Group,
Theoretical Girls,
Lee Hazlewood,
Saccharine Trust,
The Gap Band,
The Neon Judgement,
Lalo Schifrin,
Glambeats Corp.,
These Immortal Souls,
U.S. Maple,
Eyeless In Gaza,
Bootsy Collins,
Mandrill,
Neil Young,
Shuggie Otis,
The Monks,
DNA,
Davy DMX,
Nick Cave & The Bad Seeds,
Rosa Yemen,
The Men They Couldn't Hang,
Morten Harket,
Larry & the Blue Notes,
Vaughan Mason & Crew,
Alphaville,
Fugazi,
Bootsy's Rubber Band,
Althea and Donna,
Graham Central Station,
Cabaret Voltaire,
Japan,
Kool G Rap & DJ Polo,
Funkadelic,
Slave, Slave, Slave, Slave.
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.