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 Bulgaria and from Woodstock.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Bologna and Tehran.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 Malaria! to the punk kids.
I played it at the 40 Watt.
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 Human League. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every The Young Rascals record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
the Soft Cell,
Brand Nubian,
Grandmaster Flash,
Nirvana,
Crooked Eye,
Au Pairs,
Magma,
Gabor Szabo,
The West Coast Pop Art Experimental Band,
Junior Murvin,
Godley & Creme,
Rapeman,
Shuggie Otis,
Niagra,
The Doobie Brothers,
Dead Boys,
Kool Moe Dee,
World's Most,
The Moleskins,
Visage,
The Martian,
Mo-Dettes,
Isaac Hayes,
Silicon Teens,
Letta Mbulu,
Massinfluence,
Mission of Burma,
Soulsonic Force,
Tom Boy,
The Monks,
Bush Tetras,
Franke,
Eden Ahbez,
Public Image Ltd.,
Monks,
F. McDonald,
Echospace,
Dark Day,
Fela Kuti,
The Kinks,
Barry Ungar,
Fifty Foot Hose,
Babytalk,
LL Cool J,
Moby Grape,
Wings,
The Monochrome Set,
Ohio Players,
Black Sheep,
Cluster,
Pantaleimon,
Aswad,
Trumans Water,
the Normal,
Saccharine Trust,
Japan,
One Last Wish,
Neu!,
Jerry's Kids,
Rosa Yemen,
The Move, The Move, The Move, The Move.
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.