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 Sierra Leone and from Manchester.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer 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 The Young Rascals to the funk kids.
I played it at the Roxy.
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 Kool Moe Dee. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Al Stewart 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Stereo Dub,
Fort Wilson Riot,
a-ha,
the Human League,
Eurythmics,
Tim Buckley,
Minutemen,
Rakim,
Black Pus,
Porter Ricks,
U.S. Maple,
The United States of America,
X-Ray Spex,
Grey Daturas,
Yusef Lateef,
Susan Cadogan,
Easy Going,
Bobby Sherman,
Deadbeat,
Angry Samoans,
Godley & Creme,
Siglo XX,
Wings,
Newcleus,
Brick,
Angels of Light & Akron/Family,
Minny Pops,
Pete Rock & C.L. Smooth,
Barry Ungar,
Roy Ayers,
Kerri Chandler,
Livin' Joy,
Unwound,
Bootsy Collins,
Hashim,
The Five Americans,
Kaleidoscope,
Television,
Flipper,
Colin Newman,
Todd Rundgren,
Peter & Gordon,
The Red Krayola,
Monolake,
Spandau Ballet,
MC5,
ABC,
Oppenheimer Analysis,
Joyce Sims,
The Cowsills,
Pantaleimon,
Parry Music,
Morten Harket,
Motorama,
Lou Reed & Metallica,
The Blackbyrds,
Eden Ahbez,
Maurizio,
Boogie Down Productions,
Ralphi Rosario,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.