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 India and from Sao Paulo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1972.
I'm losing my edge.
To all the kids in New York and Stockholm.
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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Jacques Brel to the jazz kids.
I played it at the Roxy.
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 Neu!. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Tom Boy,
Man Parrish,
Urselle,
Dark Day,
John Cale,
Alice Coltrane,
Maleditus Sound,
U.S. Maple,
Tim Buckley,
Quadrant,
Little Man,
Be Bop Deluxe,
The Cowsills,
Traffic Nightmare,
Angry Samoans,
Adolescents,
Babytalk,
Ronan,
Brothers Johnson,
Vainqueur,
Sandy B,
The Wake,
These Immortal Souls,
Tomorrow,
Parry Music,
Delon & Dalcan,
Davy DMX,
Pantytec,
Depeche Mode,
Isaac Hayes,
Chris & Cosey,
Rakim,
John Holt,
The Count Five,
The Leaves,
Harpers Bizarre,
Swans,
Cabaret Voltaire,
Henry Cow,
Moebius,
Peter and Kerry,
Schoolly D,
The Durutti Column,
Soulsonic Force,
48th St. Collective,
Kerri Chandler,
Jeff Lynne,
Deepchord,
Bootsy Collins,
Slave,
Simply Red,
Suicide,
Circle Jerks,
Frankie Knuckles,
10cc,
Bang On A Can,
Lindisfarne,
Mr. Review,
A Certain Ratio,
Panda Bear,
Hasil Adkins,
Orchestral Manoeuvres in the Dark,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.