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 Kenya and from Cairo.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1976.
I'm losing my edge.
To all the kids in Manchester and Winnipeg.
I'm losing my edge to the art-school Woodstock 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 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 The Last Poets to the techno kids.
I played it at the Astoria.
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 Barry Ungar. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Fluxion record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
U.S. Maple,
Archie Shepp,
Deepchord,
Pantytec,
Shuggie Otis,
Rowland S Howard / Lydia Lunch,
Roxette,
Sly & The Family Stone,
Eyeless In Gaza,
Robert Wyatt,
The Residents,
The Doobie Brothers,
Ultravox,
Ken Boothe,
The Dirtbombs,
F. McDonald,
Maurizio,
Thinking Fellers Union Local 282,
Young Marble Giants,
Delta 5,
Gang Green,
Bobby Sherman,
Connie Case,
Das Ding,
Maleditus Sound,
Kauko Röyhkä ja Narttu,
The Gun Club,
Ronnie Foster,
Joy Division,
Wire,
June of 44,
Ornette Coleman,
The Durutti Column,
Groovy Waters,
Sex Pistols,
Roy Ayers Ubiquity,
T. Rex,
The Divine Comedy,
Flipper,
Metal Thangz,
Pet Shop Boys,
Stiv Bators,
Lightning Bolt,
Index,
Sixth Finger,
Teenage Jesus and the Jerks,
Buzzcocks,
Bizarre Inc.,
Heaven 17,
The Martian,
DJ Style,
Max Romeo,
Eric B and Rakim,
Scan 7,
the Normal,
Danielle Patucci,
Marshall Jefferson,
Kevin Saunderson,
Cheater Slicks,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.