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 St Lucia and from Winnipeg.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Halifax and London.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes 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 Minnie Riperton to the electroclash kids.
I played it at the Troubador.
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 Moleskins. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Rhythim Is Rhythim 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 '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Erykah Badu,
London Community Gospel Choir,
Art Ensemble Of Chicago,
Neil Young,
Procol Harum,
Amazonics,
The Durutti Column,
These Immortal Souls,
Beasts of Bourbon,
Black Sheep,
The Red Krayola,
Robert Wyatt,
Unwound,
Andrew Hill,
Dead Boys,
Lalo Schifrin,
The Smoke,
Roxette,
Kings Of Tomorrow,
Ultimate Spinach,
Marc Romboy vs. Booka Shade,
Peter Gordon & Love of Life Orchestra,
Lebanon Hanover,
Camron Feat. Jay Z And Juelz,
Oppenheimer Analysis,
Wolf Eyes,
Moebius,
MC5,
Bob Dylan,
Crooked Eye,
Guru Guru,
Negative Approach,
Roy Ayers Ubiquity,
Audionom,
Pharaoh Sanders and the Fire Engines,
Cluster,
Pierre Henry,
Vainqueur,
PIL,
Richard Hell and the Voidoids,
Toni Rubio,
Thinking Fellers Union Local 282,
Peter & Gordon,
Massinfluence,
L. Decosne,
F. McDonald,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Slits,
The Men They Couldn't Hang,
Bill Wells,
The Residents,
Graham Central Station,
The Techniques,
Yellowson,
Bobby Hutcherson,
Banda Bassotti,
Terrestrial Tones,
Yazoo,
The Misunderstood,
Jawbox,
Thee Headcoats,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.