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 Belarus and from Tehran.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Taipei and Delhi.
I'm losing my edge to the art-school Columbus 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Normal to the techno kids.
I played it at the Spitz.
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 The Young Rascals tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Stetsasonic,
Thompson Twins,
Eric Copeland,
Sparks,
Au Pairs,
Interpol,
Deadbeat,
Soul II Soul,
The Human League,
Harry Pussy,
Babytalk,
Rhythim Is Rhythim,
Captain Beefheart & His Magic Band,
Aaron Thompson,
Bobby Hutcherson,
China Crisis,
Depeche Mode,
Radiopuhelimet,
Dennis Brown,
Average White Band,
Man Eating Sloth,
The Index,
Pierre Henry,
Slick Rick,
Jacques Brel,
Q and Not U,
Derrick May,
Judy Mowatt,
Sun Ra Arkestra,
Angry Samoans,
Lightning Bolt,
The Victims,
Byron Stingily,
Easy Going,
Camron Feat. Jay Z And Juelz,
Duran Duran,
The Evens,
Gerry Rafferty,
Radiohead,
Robert Hood,
Gang Green,
Kerri Chandler,
Jesper Dahlbäck,
The Birthday Party,
Lafayette Afro Rock Band,
London Community Gospel Choir,
Sound Behaviour,
Delon & Dalcan,
Technova,
X-Ray Spex,
Heavy D & The Boyz,
Tres Demented,
Ludus,
Rufus Thomas,
Bizarre Inc.,
the Human League,
Terrestrial Tones,
Buzzcocks,
Alison Limerick,
Avey Tare & Kría Brekkan,
Bill Wells,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.