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 Haiti and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Jakarta 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 theremin 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 Dead Boys to the techno 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 The J.B.'s. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Slits,
Nation of Ulysses,
Desert Stars,
Main Source,
Pet Shop Boys,
Sexual Harrassment,
Larry & the Blue Notes,
Graham Central Station,
Electric Prunes,
Bootsy Collins,
Eyeless In Gaza,
Bang on a Can All-Stars,
Youth Brigade,
John Holt,
Marvin Gaye,
The Happenings,
Al Stewart,
PIL,
Excepter,
Ronnie Foster,
Brand Nubian,
Roxy Music,
Nirvana,
Radio Birdman,
DNA,
Franke,
Peter Gordon & Love of Life Orchestra,
Kool Moe Dee,
Sunsets and Hearts,
Lalann,
The Kinks,
Colin Newman,
Ash Ra Tempel,
June of 44,
Parry Music,
The American Breed,
JFA,
Popol Vuh,
Beasts of Bourbon,
Sandy B,
Quando Quango,
Stetsasonic,
Thinking Fellers Union Local 282,
Rahsaan Roland Kirk,
Goldenarms,
Japan,
LL Cool J,
Radiohead,
Sarah Menescal,
Duran Duran,
Loose Ends,
Electric Light Orchestra,
The Human League,
Zero Boys,
Yellowson,
Barrington Levy,
David Bowie,
Icehouse,
Crispy Ambulance,
Blossom Toes,
The United States of America,
Bang On A Can,
Dark Day, Dark Day, Dark Day, Dark Day.
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.