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 Zimbabwe and from Salvador.
But I was there.
I was there in .
I was there at the first Suicide 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 1960 to 1973.
I'm losing my edge.
To all the kids in Cairo and New York.
I'm losing my edge to the art-school Halifax 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 güiro 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 Soft Cell to the dance kids.
I played it at Cafe Wha.
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 Nils Olav. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Byron Stingily,
Piero Umiliani,
Oppenheimer Analysis,
Bluetip,
Animal Collective,
Lee Hazlewood,
Rod Modell,
Gregory Isaacs,
Los Fastidios,
Oneida,
The Fortunes,
Soul II Soul,
June Days,
China Crisis,
The Gladiators,
DJ Sneak,
Jandek,
Lucky Dragons,
Rotary Connection,
The Jesus and Mary Chain,
Black Sheep,
the Slits,
Drive Like Jehu,
The Tremeloes,
Harpers Bizarre,
Frankie Knuckles,
Hardrive,
Jesper Dahlbäck,
The Associates,
Minutemen,
U.S. Maple,
Spandau Ballet,
Man Parrish,
Bobby Hutcherson,
Max Romeo,
Albert Ayler,
The Blackbyrds,
Magazine,
Peter Gordon & Love of Life Orchestra,
Underground Resistance,
Ajijia Myrayebe,
Black Pus,
Masters at Work,
Beasts of Bourbon,
Absolute Body Control,
The Electric Prunes,
Kango’s Stein Massive,
Nirvana,
JFA,
Icehouse,
The Smiths,
Popol Vuh,
Ken Boothe,
Ultravox,
Sällskapet,
Robert Görl,
Fatback Band,
The Wake,
Pantaleimon,
Royal Trux,
Essential Logic,
Avey Tare's Slasher Flicks,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.