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 Ghana and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Madrid and Halifax.
I'm losing my edge to the art-school Stockholm 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 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 Scrapy to the jazz kids.
I played it at the Roxy.
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 Manfred Mann's Earth Band. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Sun City Girls,
Slave,
Minutemen,
Main Source,
Lebanon Hanover,
Matthew Bourne,
Negative Approach,
Dark Day,
Brick,
Aural Exciters,
Jacques Brel,
Ornette Coleman,
Lindisfarne,
48th St. Collective,
Youth Brigade,
Swans,
the Association,
Au Pairs,
The Cramps,
The Slackers,
Arcadia,
Swell Maps,
Drive Like Jehu,
Pharoah Sanders,
Arab on Radar,
Wighnomy Brothers & Robag Wruhme,
Lee Hazlewood,
Urselle,
Bronski Beat,
The Knickerbockers,
The Remains,
Jeff Lynne,
Basic Channel,
Grey Daturas,
Agitation Free,
Gichy Dan,
The Peanut Butter Conspiracy,
R.M.O.,
Piero Umiliani,
Charles Mingus,
Niagra,
Notorious Big And Bone Thugs,
Spoonie Gee,
La Düsseldorf,
Johnny Clarke,
Soft Cell,
Joe Smooth,
Qualms,
Brand Nubian,
The Birthday Party,
Jandek,
Donny Hathaway,
Nils Olav,
Echospace,
Vaughan Mason & Crew,
Pierre Henry,
Grandmaster Flash,
Funkadelic,
John Foxx,
Deepchord,
It's A Beautiful Day,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.