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 Benin and from Bremen.
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 Taipei and Spokane.
I'm losing my edge to the art-school Houston 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 at the first Suicide practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Crash Course in Science to the electroclash kids.
I played it at CBGB's.
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 Johnny Clarke. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Barry Ungar,
Avey Tare,
Japan,
Ajijia Myrayebe,
Rufus Thomas,
Lebanon Hanover,
The Sonics,
Dead Boys,
Porter Ricks,
Nirvana,
Wire,
Pussy Galore,
Sandy B,
Hoover,
Louis and Bebe Barron,
Sad Lovers and Giants,
Rhythm & Sound,
Ultra Naté,
David Axelrod,
Mo-Dettes,
Man Eating Sloth,
The Smiths,
ABC,
The Saints,
Spandau Ballet,
The Techniques,
LL Cool J,
Kas Product,
Bizarre Inc.,
Barclay James Harvest,
Crispy Ambulance,
David McCallum,
Vaughan Mason & Crew,
DNA,
Metal Thangz,
Gil Scott Heron,
Fear,
Ossler,
Hot Snakes,
Cecil Taylor,
Organ,
The Modern Lovers,
Robert Hood,
Eyeless In Gaza,
The Star Department,
Buzzcocks,
Skriet,
Glenn Branca,
Yellowson,
Bluetip,
Main Source,
The Count Five,
Pantytec,
Davy DMX,
the Association,
Magma,
The Buckinghams,
Jandek,
Lalo Schifrin,
Dark Day,
Motorama,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.