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 Gabon and from Taipei.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Winnipeg.
I'm losing my edge to the art-school Shanghai 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 Siglo XX to the techno kids.
I played it at CBGB's.
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 Organ. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every Absolute Body Control 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Eyeless In Gaza,
Rites of Spring,
Gang of Four,
Spandau Ballet,
The Busters,
Joensuu 1685,
Drexciya,
Scott Walker + Sunn O))),
Nick Fraelich,
Bob Dylan,
MDC,
Wings,
Nik Kershaw,
Jesper Dahlbäck,
Whodini,
The West Coast Pop Art Experimental Band,
The Martian,
The Modern Lovers,
The Black Dice,
Skaos,
Guru Guru,
The Moleskins,
Stetsasonic,
L. Decosne,
Smog,
Andrew Ashong & Theo Parrish,
Sarah Menescal,
the Germs,
Minny Pops,
Avey Tare & Kría Brekkan,
Eli Mardock,
Steve Hackett,
Popol Vuh,
Deutsch Amerikanische Freundschaft,
Camberwell Now,
Jeru the Damaja,
The Durutti Column,
Idris Muhammad,
Susan Cadogan,
Massinfluence,
Sällskapet,
Sonic Youth,
Captain Beefheart & His Magic Band,
Subhumans,
Metal Thangz,
Moss Icon,
Dark Day,
Curtis Mayfield,
U.S. Maple,
Juan Atkins,
Matthew Bourne,
Dawn Penn,
Ossler,
PIL,
John Coltrane,
The Leaves,
Lower 48,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.