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 Solomon Islands and from New York.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Paris 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 David McCallum to the rock kids.
I played it at the Crocodile.
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 A Flock of Seagulls. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Cabaret Voltaire,
Louis and Bebe Barron,
Soft Cell,
Grauzone,
Crispy Ambulance,
The Wake,
Jesper Dahlbäck,
Godley & Creme,
Television,
Swans,
Howard Jones,
Hashim,
The Smoke,
U.S. Maple,
the Soft Cell,
Davy DMX,
Lower 48,
DJ Sneak,
Dawn Penn,
Black Flag,
Absolute Body Control,
Rufus Thomas,
Siglo XX,
Jacques Brel,
Tears for Fears,
Kings Of Tomorrow,
Motorama,
Delon & Dalcan,
The Mummies,
Swell Maps,
X-Ray Spex,
The Invisible,
Barbara Tucker,
Maleditus Sound,
The Black Dice,
Model 500,
Althea and Donna,
Soft Machine,
Whodini,
Don Cherry,
Massinfluence,
Jerry's Kids,
48th St. Collective,
Flamin' Groovies,
Sonic Youth,
Rhythim Is Rhythim,
Quando Quango,
Marcia Griffiths,
The American Breed,
Blossom Toes,
Essential Logic,
Crispian St. Peters,
Dark Day,
Pierre Henry,
New Order,
Smog,
Terror Squad Feat. Camron,
Eve St. Jones,
Terry Callier,
The Royal Family And The Poor,
Nico, Nico, Nico, Nico.
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.