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 Monaco and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Madrid and Madrid.
I'm losing my edge to the art-school Hong Kong 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 mellotron 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 Avey Tare & Kría Brekkan 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 Fort Wilson Riot. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Peter & Gordon,
Yusef Lateef,
Rhythm & Sound,
The Busters,
Graham Central Station,
Unwound,
Average White Band,
Warsaw,
Jacques Brel,
Grandmaster Flash and the Furious Five,
Manfred Mann's Earth Band,
L. Decosne,
Swell Maps,
Absolute Body Control,
Scientists,
Derrick May,
Soft Machine,
X-102,
Y Pants,
Public Image Ltd.,
Letta Mbulu,
The Monks,
Cymande,
Grey Daturas,
La Düsseldorf,
The United States of America,
The Fire Engines,
OOIOO,
The Evens,
Suicide,
The Men They Couldn't Hang,
Avey Tare's Slasher Flicks,
Cybotron,
Moebius,
Youth Brigade,
Bobby Womack,
The Kinks,
Black Flag,
The Residents,
Fort Wilson Riot,
Babytalk,
The Fugs,
Scratch Acid,
Nation of Ulysses,
Piero Umiliani,
Gabor Szabo,
Television Personalities,
Marc Almond,
Gong,
Michelle Simonal,
Robert Görl,
Infiniti,
Jawbox,
Malaria!,
Blossom Toes,
Dead Boys,
Surgeon,
Wolf Eyes,
Harmonia,
China Crisis, China Crisis, China Crisis, China Crisis.
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.