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 Guatemala and from Johannesburg.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Sao Paulo 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 theremin 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 The Barracudas to the punk 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 James White and The Blacks. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Amon Düül II 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Procol Harum,
Black Pus,
Magma,
Al Stewart,
Delta 5,
Graham Central Station,
The Mighty Diamonds,
Banda Bassotti,
The Detroit Cobras,
Maleditus Sound,
H. Thieme,
Groovy Waters,
Cymande,
MC5,
Skaos,
The New Christs,
Anakelly,
Eurythmics,
Wighnomy Brothers & Robag Wruhme,
Susan Cadogan,
Sällskapet,
Essential Logic,
June of 44,
Animal Collective,
Kayak,
Reagan Youth,
Niagra,
Nation of Ulysses,
Hashim,
David Axelrod,
Kaleidoscope,
Model 500,
Lonnie Liston Smith,
Altered Images,
Pole,
Gerry Rafferty,
Connie Case,
Masters at Work,
China Crisis,
Todd Rundgren,
PIL,
Silicon Teens,
Louis and Bebe Barron,
the Bar-Kays,
John Lydon,
Talk Talk,
Danielle Patucci,
Charles Mingus,
Max Romeo,
Lightning Bolt,
the Soft Cell,
Hot Snakes,
8 Eyed Spy,
Rites of Spring,
Pylon,
Harpers Bizarre,
Camberwell Now,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.