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 Cambodia and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
I'm losing my edge to the art-school Madrid 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 spring reverb 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 Heavy D & The Boyz to the electroclash 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 Sly & The Family Stone. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every the Normal 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Roy Ayers,
The Invisible,
Iggy Pop,
Neu!,
Index,
KRS-One,
Deakin,
Darondo,
Aaron Thompson,
the Slits,
Eurythmics,
Boogie Down Productions,
Flipper,
Kerri Chandler,
Pet Shop Boys,
Henry Cow,
Circle Jerks,
Cameo,
The Cosmic Jokers,
Magazine,
Be Bop Deluxe,
Derrick Morgan,
Rakim,
Los Fastidios,
Neil Young,
Deepchord,
Joey Negro,
Eli Mardock,
Bootsy Collins,
Quando Quango,
The Fortunes,
The Seeds,
The Dead C,
Unrelated Segments,
Roxette,
Royal Trux,
Traffic Nightmare,
Faraquet,
The West Coast Pop Art Experimental Band,
Khruangbin,
Sun Ra,
Ash Ra Tempel,
Mad Mike,
Bronski Beat,
Minnie Riperton,
Lou Christie,
The Peanut Butter Conspiracy,
Avey Tare,
The Offenders,
Fifty Foot Hose,
Arcadia,
Monolake,
Porter Ricks,
June Days,
A Certain Ratio,
Warren Ellis,
Ajijia Myrayebe,
Little Man,
The Grass Roots,
the Sonics,
U.S. Maple,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.