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 Australia and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 A Certain Ratio to the funk 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 Richard Hell and the Voidoids. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every The Stooges 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
X-102,
Smog,
The Sound,
Boz Scaggs,
The Gladiators,
Barrington Levy,
Bootsy's Rubber Band,
Avey Tare's Slasher Flicks,
Chrome,
La Düsseldorf,
T. Rex,
Neu!,
Grauzone,
Andrew Hill,
EPMD,
John Lydon,
Motorama,
MC5,
Los Fastidios,
Fugazi,
Funkadelic,
Ponytail,
World's Most,
Barclay James Harvest,
Sugar Minott,
Arab on Radar,
Deadbeat,
Amon Düül II,
Todd Terry,
Eli Mardock,
Underground Resistance,
Oneida,
Vladislav Delay,
CMW,
the Swans,
Hot Snakes,
The Names,
The Black Dice,
Symarip,
Bob Dylan,
Neil Young,
Super Lover Cee & Casanova Rud,
Lalann,
AZ,
Danielle Patucci,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wire,
Q and Not U,
Siglo XX,
Ten City,
Bush Tetras,
Nirvana,
Popol Vuh,
Marc Almond,
Tropical Tobacco,
Teenage Jesus and the Jerks,
Sister Nancy,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.