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 Korea North and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Milan.
I'm losing my edge to the art-school Philadelphia 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 harpsichord 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 New York Dolls to the electroclash kids.
I played it at Trash.
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 Suicide. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your organ and bought a theremin.
I hear that you and your band have sold your theremin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
Brass Construction,
Barry Ungar,
The New Christs,
The Buckinghams,
Lou Reed & Metallica,
Subhumans,
Mission of Burma,
Kango’s Stein Massive,
John Cale,
Metal Thangz,
Masters at Work,
Glambeats Corp.,
Marcia Griffiths,
Sexual Harrassment,
Crime,
Half Japanese,
Strawberry Alarm Clock,
Section 25,
James Chance & The Contortions,
the Soft Cell,
Chris Corsano,
Hoover,
Tears for Fears,
The Sonics,
The Evens,
Derrick May,
Pete Rock & C.L. Smooth,
Cameo,
KRS-One,
Underground Resistance,
Todd Terry,
Faraquet,
The United States of America,
Minnie Riperton,
Dead Boys,
Skaos,
Sight & Sound,
The Alarm Clocks,
Pierre Henry,
Kenny Larkin,
Slick Rick,
Q65,
Brothers Johnson,
Flash Fearless,
Suburban Knight,
Surgeon,
Kaleidoscope,
Jeff Lynne,
Jesper Dahlback,
Cabaret Voltaire,
Radiohead,
Janne Schatter,
Joe Smooth,
A Certain Ratio,
The Barracudas,
Pole,
Eddi Front,
Stiv Bators,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.