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 Philippines and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin 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 Porter Ricks to the electroclash kids.
I played it at the Spitz.
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 Real Kids. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Smog,
Sugar Minott,
Graham Central Station,
Thinking Fellers Union Local 282,
Henry Cow,
Beasts of Bourbon,
Livin' Joy,
Ken Boothe,
Oneida,
Blossom Toes,
Grauzone,
Radiohead,
Drive Like Jehu,
Electric Light Orchestra,
Lungfish,
Country Joe & The Fish,
The Names,
Crispy Ambulance,
Unrelated Segments,
The Human League,
Wire,
The Star Department,
Sunsets and Hearts,
Scrapy,
Neu!,
Bronski Beat,
Pierre Henry,
Radiopuhelimet,
The Shadows of Knight,
Suburban Knight,
Sun City Girls,
Swell Maps,
Skarface,
Big Daddy Kane,
Bobby Womack,
N.O.R.E. Featuring Pharrell,
Jerry Gold Smith,
the Soft Cell,
The Invisible,
Motorama,
Andrew Ashong & Theo Parrish,
Notorious Big And Bone Thugs,
Peter Gordon & Love of Life Orchestra,
Inner City,
Au Pairs,
Connie Case,
Negative Approach,
The Move,
Ohio Players,
Index,
ABC,
Ultimate Spinach,
Los Fastidios,
Tim Buckley,
Black Flag,
The American Breed,
Pete Rock & C.L. Smooth,
Glambeats Corp.,
Babytalk, Babytalk, Babytalk, Babytalk.
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.