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 Oman and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Seoul.
I'm losing my edge to the art-school Edmonton 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Michelle Simonal to the electroclash kids.
I played it at the Astoria.
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 The Peanut Butter Conspiracy. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal punk 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 a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Mad Mike,
Brass Construction,
Minor Threat,
Joensuu 1685,
Sight & Sound,
Accadde A,
Warsaw,
Echo & the Bunnymen,
The Last Poets,
Mr. Review,
Spandau Ballet,
Public Image Ltd.,
Little Man,
Supertramp,
The Sonics,
Technova,
The Fire Engines,
Khruangbin,
Cal Tjader,
10cc,
Scan 7,
Skarface,
Stiv Bators,
Shuggie Otis,
Motorama,
Simply Red,
Wings,
Kings Of Tomorrow,
Colin Newman,
Neu!,
Massinfluence,
Minny Pops,
Blake Baxter,
Larry & the Blue Notes,
Yaz,
The Martian,
Y Pants,
Buzzcocks,
Jerry Gold Smith,
Ultramagnetic MC's,
Oppenheimer Analysis,
Richard Hell and the Voidoids,
Cabaret Voltaire,
Thinking Fellers Union Local 282,
The Beau Brummels,
Visionaries,LMNO, T- Love & Iriscience,
John Holt,
Hasil Adkins,
Liaisons Dangereuses,
Heaven 17,
Prince Buster,
Althea and Donna,
Banda Bassotti,
The Smiths,
Sonic Youth,
Cameo,
Nick Fraelich,
Gabor Szabo,
Gian Franco Pienzio,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.