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 New Zealand and from London.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Toronto 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 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 Lucky Dragons to the techno kids.
I played it at CBGB's.
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 Byron Stingily. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Soft Machine 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Justin Hinds & The Dominoes,
These Immortal Souls,
T.S.O.L.,
John Cale,
Terrestrial Tones,
Minnie Riperton,
a-ha,
Deakin,
LL Cool J,
Pagans,
Nico,
Sad Lovers and Giants,
Newcleus,
Make Up,
Rhythim Is Rhythim,
Moby Grape,
Kenny Larkin,
Theoretical Girls,
Audionom,
Neil Young,
Traffic Nightmare,
Siouxsie and the Banshees,
Marvin Gaye,
Fifty Foot Hose,
Cybotron,
The Standells,
CMW,
Qualms,
Half Japanese,
Amazonics,
MDC,
Lou Reed & Metallica,
Be Bop Deluxe,
The Evens,
Jawbox,
Youth Brigade,
Wasted Youth,
Robert Wyatt,
Aswad,
Bronski Beat,
Radiohead,
Oneida,
the Normal,
Gang Starr,
Hot Snakes,
Black Pus,
Joyce Sims,
Cameo,
B.T. Express,
Agent Orange,
The Selecter,
Cal Tjader,
Grandmaster Flash,
Sonic Youth,
Unrelated Segments,
Television,
Nirvana,
Jacques Brel,
Pole,
Moebius,
Funky Four + One,
The Martian, The Martian, The Martian, The Martian.
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.