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 Estonia and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Edmonton.
I'm losing my edge to the art-school Portland 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 güiro 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 Fluxion to the crunk kids.
I played it at the Roxy.
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 Skriet. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Connie Case 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Agent Orange,
The Human League,
Connie Case,
The Standells,
Newcleus,
The Durutti Column,
Jawbox,
B.T. Express,
Kauko Röyhkä ja Narttu,
Chrome,
Ultra Naté,
The Beau Brummels,
Marcia Griffiths,
Art Ensemble Of Chicago,
Harry Pussy,
The Residents,
Kaleidoscope,
Sun Ra Arkestra,
The Chocolate Watch Band,
The Fire Engines,
Parry Music,
Joyce Sims,
Louis and Bebe Barron,
Josef K,
The Smoke,
Bobby Womack,
Lindisfarne,
Byron Stingily,
Fela Kuti,
It's A Beautiful Day,
Underground Resistance,
PIL,
Unrelated Segments,
Sight & Sound,
Cabaret Voltaire,
Mission of Burma,
Rhythim Is Rhythim,
The Gories,
The Grass Roots,
Sixth Finger,
Beasts of Bourbon,
H. Thieme,
Rotary Connection,
Nirvana,
Niagra,
Barrington Levy,
ABC,
Fort Wilson Riot,
The Associates,
Das Ding,
Idris Muhammad,
CMW,
Half Japanese,
Con Funk Shun,
Trumans Water,
Buzzcocks,
L. Decosne,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.