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 Germany and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 The Chocolate Watch Band to the jazz kids.
I played it at the Troubador.
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 Michelle Simonal. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Lou Reed 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
The Alarm Clocks,
Ten City,
Lakeside,
Cameo,
The Divine Comedy,
Section 25,
The Raincoats,
Joensuu 1685,
Interpol,
The Gun Club,
Warren Ellis,
Kenny Larkin,
kango's stein massive,
Kango’s Stein Massive,
Ice-T,
Red Lorry Yellow Lorry,
the Fania All-Stars,
Desert Stars,
Wasted Youth,
London Community Gospel Choir,
Boredoms,
The Cure,
Joe Finger,
Maurizio,
Frankie Knuckles,
Ken Boothe,
Glambeats Corp.,
The Flesh Eaters,
Aaron Thompson,
Thee Headcoats,
Aloha Tigers,
Clear Light,
Public Enemy,
Agent Orange,
The Litter,
Adolescents,
Duran Duran,
The Fuzztones,
The Dead C,
Godley & Creme,
Absolute Body Control,
Chris Corsano,
Big Daddy Kane,
Khruangbin,
Leonard Cohen,
Unwound,
Dead Boys,
Scrapy,
Drive Like Jehu,
Aural Exciters,
Terrestrial Tones,
Bluetip,
Orchestral Manoeuvres in the Dark,
Lafayette Afro Rock Band,
James White and The Blacks,
La Düsseldorf,
Robert Hood,
The Count Five,
X-Ray Spex,
The Durutti Column,
Rapeman,
DJ Style,
Lower 48, Lower 48, Lower 48, Lower 48.
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.