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 Bahamas and from Shanghai.
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 Toronto and London.
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 spring reverb 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 Jeff Lynne to the dance kids.
I played it at the Astoria.
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 Larry & the Blue Notes. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
The Doobie Brothers,
Radio Birdman,
PIL,
Ohio Players,
Dawn Penn,
Bauhaus,
Lee Hazlewood,
Agitation Free,
Althea and Donna,
Spoonie Gee,
Lucky Dragons,
Fugazi,
Youth Brigade,
Nils Olav,
Fat Boys,
Marine Girls,
Yusef Lateef,
Bad Manners,
U.S. Maple,
Bobby Sherman,
The Real Kids,
Eli Mardock,
Porter Ricks,
The Gladiators,
Andrew Ashong & Theo Parrish,
AZ,
Monolake,
Magma,
London Community Gospel Choir,
Sam Rivers,
Shoche,
T.S.O.L.,
Chris & Cosey,
Be Bop Deluxe,
CMW,
Talk Talk,
Massinfluence,
A Flock of Seagulls,
Zero Boys,
The Alarm Clocks,
The Electric Prunes,
Deepchord,
Bobby Hutcherson,
Amon Düül II,
the Germs,
Rosa Yemen,
Guru Guru,
Radiohead,
Amon Düül,
Super Lover Cee & Casanova Rud,
The J.B.'s,
Country Joe & The Fish,
Faraquet,
Jacob Miller,
Throbbing Gristle,
Boogie Down Productions,
Dark Day,
World's Most,
Crooked Eye,
Leonard Cohen,
Pantaleimon,
The Doors,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.