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 Equatorial Guinea and from Lille.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Calgary and Beijing.
I'm losing my edge to the art-school Edmonton 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer 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 Chris Corsano to the grime 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 Avey Tare's Slasher Flicks. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every The Wake 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Angels of Light & Akron/Family,
Ohio Players,
Byron Stingily,
Malaria!,
Essential Logic,
Pussy Galore,
Scan 7,
Tommy Roe,
Peter and Kerry,
MC5,
Public Image Ltd.,
The Fortunes,
Metal Thangz,
Niagra,
The Human League,
Laurel Aitken,
Black Sheep,
The Chocolate Watch Band,
Dave Gahan,
Cameo,
Model 500,
Vladislav Delay,
Desert Stars,
Sad Lovers and Giants,
Justin Hinds & The Dominoes,
Pere Ubu,
Grandmaster Flash,
Khruangbin,
Marshall Jefferson,
Oppenheimer Analysis,
David Axelrod,
Juan Atkins,
Louis and Bebe Barron,
Mad Mike,
David Bowie,
Skriet,
Sly & The Family Stone,
Gang Gang Dance,
8 Eyed Spy,
Delon & Dalcan,
Japan,
Ice-T,
The Fall,
Zero Boys,
Outsiders,
48th St. Collective,
Deutsch Amerikanische Freundschaft,
Popol Vuh,
Siouxsie and the Banshees,
Amazonics,
K-Klass,
Lou Christie,
Yellowson,
Blake Baxter,
Radio Birdman,
Lower 48,
The Neon Judgement,
MDC, MDC, MDC, MDC.
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.