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 Ireland and from Portland.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 oboe 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 Bill Near to the crunk kids.
I played it at CBGB's.
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 Qualms. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Teenage Jesus and the Jerks,
John Holt,
Glambeats Corp.,
Altered Images,
Main Source,
Can,
Connie Case,
Model 500,
Hasil Adkins,
The Motions,
June of 44,
Lafayette Afro Rock Band,
U.S. Maple,
Radiohead,
Pussy Galore,
Rowland S Howard / Lydia Lunch,
Crime,
Aloha Tigers,
Kerrie Biddell,
Wolf Eyes,
Fort Wilson Riot,
Depeche Mode,
Dave Gahan,
Toni Rubio,
James Chance & The Contortions,
A Certain Ratio,
Intrusion,
F. McDonald,
Bootsy Collins,
Franke,
Drive Like Jehu,
Richard Hell and the Voidoids,
MC5,
Letta Mbulu,
Black Pus,
The Electric Prunes,
Oppenheimer Analysis,
The Durutti Column,
Jacques Brel,
Circle Jerks,
Silicon Teens,
Mars,
the Normal,
Wally Richardson,
The Slits,
Easy Going,
Orchestral Manoeuvres in the Dark,
Roger Hodgson,
The Blackbyrds,
Saccharine Trust,
Rotary Connection,
The Mojo Men,
Amazonics,
Terror Squad Feat. Camron,
CMW,
Kenny Larkin,
Yellowson,
Half Japanese,
Ronnie Foster,
Gary Puckett & The Union Gap,
Tommy Roe,
Minor Threat,
Agitation Free,
Eden Ahbez,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.