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 Iraq and from Bologna.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Manila and Stockholm.
I'm losing my edge to the art-school Spokane 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 808 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 Rapeman to the rock kids.
I played it at the Spitz.
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 Average White Band. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Delon & Dalcan 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Avey Tare & Kría Brekkan,
Reuben Wilson,
Louis and Bebe Barron,
The Alarm Clocks,
Spandau Ballet,
The Durutti Column,
Red Lorry Yellow Lorry,
Jeru the Damaja,
Sun Ra Arkestra,
Pussy Galore,
Q and Not U,
Goldenarms,
Barbara Tucker,
Sällskapet,
Peter and Kerry,
Nils Olav,
Eurythmics,
Clear Light,
Flash Fearless,
Neil Young,
Quantec,
Interpol,
The Buckinghams,
Curtis Mayfield,
Amazonics,
Wire,
The Searchers,
Andrew Hill,
Dorothy Ashby,
Surgeon,
The Fugs,
MDC,
Mr. Review,
Kool Moe Dee,
the Association,
Panda Bear,
The Last Poets,
Archie Shepp,
Gastr Del Sol,
Smog,
Hasil Adkins,
Vaughan Mason & Crew,
Cabaret Voltaire,
Ken Boothe,
Warsaw,
Shuggie Otis,
Donny Hathaway,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Deepchord,
Banda Bassotti,
The Golliwogs,
Pantytec,
Neil Young & Crazy Horse,
X-Ray Spex,
Bootsy Collins,
Quadrant,
Bobby Sherman,
Pantaleimon,
Television Personalities,
The Neon Judgement,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.