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 Tunisia and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Portland.
I'm losing my edge to the art-school Stockholm 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 mellotron sounds with much patience.
I was there when David Bowie 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 Skaos to the disco kids.
I played it at the Crocodile.
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 Flash Fearless. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Angels of Light & Akron/Family record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Tim Buckley,
Harry Pussy,
Boredoms,
Wolf Eyes,
Underground Resistance,
L. Decosne,
Bang On A Can,
the Association,
the Fania All-Stars,
Visionaries,LMNO, T- Love & Iriscience,
Graham Central Station,
Scion,
The Tremeloes,
Monolake,
Laurel Aitken,
Eric Copeland,
Smog,
The Happenings,
Schoolly D,
Sun Ra Arkestra,
Sunsets and Hearts,
Selector Dub Narcotic,
DNA,
Rekid,
Roger Hodgson,
Fluxion,
The Associates,
Bill Near,
The Velvet Underground,
Arab on Radar,
Marc Almond,
The Doobie Brothers,
Visage,
This Heat,
Khruangbin,
Babytalk,
Public Enemy,
Thee Headcoats,
Sam Rivers,
OOIOO,
The Sisters of Mercy,
Beasts of Bourbon,
The Durutti Column,
Bobby Sherman,
Scratch Acid,
The Star Department,
Clear Light,
The Black Dice,
MDC,
Sixth Finger,
The Royal Family And The Poor,
Marine Girls,
Siglo XX,
The Count Five,
Unwound,
Jerry's Kids,
Tommy Roe,
Little Man,
the Bar-Kays,
MC5,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.