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 Cameroon and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television 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 1968 to 1970.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Manchester 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Joey Negro to the grunge kids.
I played it at the Spitz.
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 Jeru the Damaja. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Cal Tjader,
Bronski Beat,
Jandek,
Q and Not U,
Angry Samoans,
Flipper,
Byron Stingily,
Tim Buckley,
These Immortal Souls,
The Birthday Party,
The Monochrome Set,
The Saints,
Marc Almond,
Wighnomy Brothers & Robag Wruhme,
Dorothy Ashby,
Bang On A Can,
Gil Scott-Heron & Brian Jackson,
Janne Schatter,
Goldenarms,
The Real Kids,
Peter Gordon & Love of Life Orchestra,
Thinking Fellers Union Local 282,
Kurtis Blow,
The Chocolate Watch Band,
KRS-One,
Lightning Bolt,
Flamin' Groovies,
The West Coast Pop Art Experimental Band,
The Detroit Cobras,
The Dead C,
The Doobie Brothers,
Strawberry Alarm Clock,
The Fortunes,
Mary Jane Girls,
Rhythim Is Rhythim,
The Peanut Butter Conspiracy,
Black Bananas,
Chris Corsano,
Thee Headcoats,
Fugazi,
Von Mondo,
Tres Demented,
Brand Nubian,
Bad Manners,
Bobby Womack,
Metal Thangz,
Altered Images,
Girls At Our Best!,
Teenage Jesus and the Jerks,
Basic Channel,
Spandau Ballet,
Bootsy Collins,
Mark Hollis,
Blossom Toes,
Section 25,
The Stooges,
The Mighty Diamonds,
The Gap Band,
The Mojo Men,
Bang on a Can All-Stars,
Moss Icon,
Peter & Gordon,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.