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 Tanzania and from Toronto.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Beijing and Milan.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 The Index to the grunge 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 Fat Boys. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every Jerry Gold Smith 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
The Dirtbombs,
Desert Stars,
Tropical Tobacco,
U.S. Maple,
Circle Jerks,
Notorious Big And Bone Thugs,
Lungfish,
Marvin Gaye,
Visage,
Wings,
FM Einheit,
The Mighty Diamonds,
John Lydon,
The Real Kids,
Kings Of Tomorrow,
Adolescents,
Lucky Dragons,
Lou Reed,
The Jesus and Mary Chain,
The Neon Judgement,
Qualms,
John Coltrane,
Sex Pistols,
Fela Kuti,
Grey Daturas,
Pussy Galore,
Curtis Mayfield,
Idris Muhammad,
The Star Department,
Livin' Joy,
Audionom,
Trumans Water,
Bill Near,
Unwound,
Boz Scaggs,
Donald Byrd,
Minnie Riperton,
Absolute Body Control,
Howard Jones,
Deepchord,
Alison Limerick,
Yaz,
Barbara Tucker,
James Chance & The Contortions,
Pole,
The Trojans,
Joensuu 1685,
Tubeway Army,
Basic Channel,
Roger Hodgson,
Shuggie Otis,
The Walker Brothers,
the Normal,
The Tremeloes,
Easy Going,
Camron Feat. Memphis Bleek And Beenie Seigel,
Quadrant,
Erasure,
Sarah Menescal,
Juan Atkins,
Guru Guru,
The Remains, The Remains, The Remains, The Remains.
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.