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 Cuba and from Spokane.
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 1964 to 1972.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Newcleus to the grunge kids.
I played it at Trash.
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 T.S.O.L.. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Unrelated Segments,
Q and Not U,
Joe Smooth,
The Techniques,
Angry Samoans,
10cc,
Neil Young,
Guru Guru,
Y Pants,
Pere Ubu,
Barbara Tucker,
Nas,
Rotary Connection,
Al Stewart,
Harpers Bizarre,
Connie Case,
Lafayette Afro Rock Band,
The Smiths,
the Sonics,
Davy DMX,
Zapp,
Panda Bear,
Index,
The Vogues,
Rosa Yemen,
Stetsasonic,
The Move,
Youth Brigade,
DJ Style,
Robert Wyatt,
Ohio Players,
Barrington Levy,
Robert Hood,
The Trojans,
Blake Baxter,
Suburban Knight,
Blancmange,
Cybotron,
The Evens,
Underground Resistance,
Bang On A Can,
New York Dolls,
Television,
John Foxx,
Ludus,
Infiniti,
Stockholm Monsters,
Alton Ellis,
Scratch Acid,
Camouflage,
Sparks,
The Star Department,
The Mighty Diamonds,
Liaisons Dangereuses,
Sound Behaviour,
a-ha,
Hoover,
Jacob Miller,
Fifty Foot Hose,
The Moleskins,
EPMD,
Pierre Henry,
L. Decosne,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.