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 Micronesia and from Manila.
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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Alphaville to the electroclash 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 Grandmaster Flash. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Neil Young & Crazy Horse 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 '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Art Ensemble Of Chicago,
Carl Craig,
Ultravox,
Arab on Radar,
Jawbox,
Joe Smooth,
Roy Ayers Ubiquity,
Lou Reed & John Cale,
Siglo XX,
John Cale,
Blancmange,
The Star Department,
Sarah Menescal,
The Fugs,
Jesper Dahlbäck,
Sly & The Family Stone,
The Birthday Party,
The Dirtbombs,
La Düsseldorf,
Dead Boys,
John Coltrane,
Theoretical Girls,
The New Christs,
Strawberry Alarm Clock,
Ken Boothe,
Pylon,
The Happenings,
Rod Modell,
Peter and Kerry,
The Golliwogs,
48th St. Collective,
The Busters,
Alton Ellis,
The Seeds,
The Moleskins,
Red Lorry Yellow Lorry,
MC5,
Kauko Röyhkä ja Narttu,
Susan Cadogan,
Jacques Brel,
Lebanon Hanover,
The Barracudas,
Visage,
Ultra Naté,
Camron Feat. Memphis Bleek And Beenie Seigel,
Magazine,
Arcadia,
The Buckinghams,
Thinking Fellers Union Local 282,
Nation of Ulysses,
Babytalk,
L. Decosne,
Ossler,
Liliput,
DJ Style,
Desert Stars,
Stockholm Monsters,
Robert Hood,
X-101,
The Doors, The Doors, The Doors, The Doors.
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.