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 Solomon Islands and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Lagos and Mexico City.
I'm losing my edge to the art-school New York 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 Kurtis Blow to the punk kids.
I played it at the Troubador.
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 Ultravox. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Sun Ra record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Marcia Griffiths,
Sarah Menescal,
Neil Young,
Interpol,
Super Lover Cee & Casanova Rud,
Qualms,
The Busters,
Saccharine Trust,
Ohio Players,
Sam Rivers,
Red Lorry Yellow Lorry,
Bill Near,
Eve St. Jones,
The Fall,
Larry & the Blue Notes,
Aural Exciters,
Eric Copeland,
Groovy Waters,
Juan Atkins,
Marvin Gaye,
The Blues Magoos,
Fluxion,
Alton Ellis,
Major Organ And The Adding Machine,
The Young Rascals,
Gong,
Bauhaus,
DJ Sneak,
Procol Harum,
KRS-One,
Excepter,
Parry Music,
Adolescents,
U.S. Maple,
The Moody Blues,
Godley & Creme,
Sister Nancy,
Sun City Girls,
Prince Buster,
Magazine,
The Cramps,
Siouxsie and the Banshees,
The Names,
a-ha,
Lalann,
the Sonics,
Loose Ends,
Todd Rundgren,
Gabor Szabo,
John Holt,
Howard Jones,
Schoolly D,
Wings,
Khruangbin,
D'Angelo,
X-102,
Sexual Harrassment,
These Immortal Souls,
Oneida, Oneida, Oneida, Oneida.
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.