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 Sweden and from Paris.
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 1972.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Bologna 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 Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin 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 Section 25 to the techno 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 The Cure. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Iggy Pop record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Cal Tjader,
Danielle Patucci,
Organ,
The Victims,
Whodini,
Monolake,
Ponytail,
Crash Course in Science,
UT,
The Star Department,
Swell Maps,
Model 500,
Sister Nancy,
Tubeway Army,
Country Joe & The Fish,
Thee Headcoats,
Terror Squad Feat. Camron,
Minny Pops,
Pulsallama,
Marvin Gaye,
Cabaret Voltaire,
Aloha Tigers,
Tears for Fears,
The Gories,
the Germs,
Depeche Mode,
The Blues Magoos,
Howard Jones,
B.T. Express,
Gil Scott-Heron and Jamie xx,
World's Most,
Radiohead,
David Axelrod,
Saccharine Trust,
Ossler,
H. Thieme,
Rekid,
The Selecter,
Masters at Work,
Supertramp,
Super Lover Cee & Casanova Rud,
Crispy Ambulance,
Jimmy McGriff,
The Skatalites,
Talk Talk,
The Buckinghams,
John Holt,
Marshall Jefferson,
F. McDonald,
The Monochrome Set,
Byron Stingily,
ABC,
Rhythm & Sound,
Blossom Toes,
Cecil Taylor,
The Fuzztones,
Prince Buster,
Interpol,
Livin' Joy,
Kango’s Stein Massive,
Second Layer, Second Layer, Second Layer, Second Layer.
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.