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 Bangladesh and from Hong Kong.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Edmonton.
I'm losing my edge to the art-school Mexico City 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 clarinet 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 Piero Umiliani to the grunge 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 Symarip. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Can 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 '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Althea and Donna,
Little Man,
Lucky Dragons,
The Martian,
Guru Guru,
Groovy Waters,
Leonard Cohen,
Arcadia,
Lou Christie,
Skriet,
Suicide,
Rowland S Howard / Lydia Lunch,
Sam Rivers,
Albert Ayler,
Grandmaster Flash,
Sister Nancy,
Television,
Erykah Badu,
Sandy B,
It's A Beautiful Day,
ABC,
Scratch Acid,
Sixth Finger,
The Cowsills,
Ornette Coleman,
Trumans Water,
Siouxsie and the Banshees,
Roy Ayers Ubiquity,
Skarface,
June of 44,
Faust,
Howard Jones,
Tropical Tobacco,
Man Parrish,
The Motions,
The Slits,
Siglo XX,
John Lydon,
Das Ding,
Big Daddy Kane,
Agent Orange,
B.T. Express,
Reagan Youth,
AZ,
Janne Schatter,
U.S. Maple,
T.S.O.L.,
Kings Of Tomorrow,
Brothers Johnson,
Boredoms,
Anakelly,
Danielle Patucci,
Avey Tare,
Youth Brigade,
Richard Hell and the Voidoids,
Tim Buckley,
John Cale,
DJ Sneak,
The Names,
Bill Near,
Hot Snakes,
Sparks, Sparks, Sparks, Sparks.
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.