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 Hungary and from Milan.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Barbara Tucker to the rap kids.
I played it at Cafe Wha.
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 Lower 48. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Masters at Work,
World's Most,
Minny Pops,
Eric B and Rakim,
Magazine,
The Dead C,
Underground Resistance,
Q65,
Pylon,
Chris Corsano,
The Names,
Wings,
Pierre Henry,
Marine Girls,
Sugar Minott,
Soulsonic Force,
Pantaleimon,
Anakelly,
Guru Guru,
Terror Squad Feat. Camron,
Crispy Ambulance,
Thompson Twins,
New York Dolls,
Mandrill,
Jeff Lynne,
The Alarm Clocks,
Marshall Jefferson,
the Sonics,
Black Flag,
KRS-One,
Deutsch Amerikanische Freundschaft,
Sunsets and Hearts,
Derrick May,
The Sisters of Mercy,
the Bar-Kays,
EPMD,
The Busters,
Sun Ra Arkestra,
Anthony Braxton,
Brass Construction,
The Five Americans,
Black Pus,
Dave Gahan,
Davy DMX,
John Foxx,
Cluster,
Yusef Lateef,
K-Klass,
Joe Smooth,
Black Bananas,
Peter & Gordon,
Half Japanese,
Television Personalities,
Jacques Brel,
In Retrospect,
John Cale,
Magma,
Lou Reed,
Rekid,
Bobby Sherman,
Monolake,
The Fortunes,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.