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 Comoros and from Edmonton.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Seoul and Edmonton.
I'm losing my edge to the art-school Spokane 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Nirvana to the disco kids.
I played it at Trash.
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 Black Sheep. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
The Names,
Supertramp,
The Associates,
Oppenheimer Analysis,
MDC,
Crispian St. Peters,
The Velvet Underground,
Peter & Gordon,
Cabaret Voltaire,
Liliput,
Unrelated Segments,
Bootsy's Rubber Band,
Johnny Osbourne,
Scott Walker + Sunn O))),
A Certain Ratio,
The United States of America,
Zapp,
Khruangbin,
John Cale,
Anthony Braxton,
Model 500,
Andrew Hill,
ABC,
Goldenarms,
Max Romeo,
DJ Style,
Stereo Dub,
Larry & the Blue Notes,
Metal Thangz,
Robert Wyatt,
Pharaoh Sanders and the Fire Engines,
Swell Maps,
John Holt,
Roxy Music,
Gichy Dan,
London Community Gospel Choir,
Con Funk Shun,
X-Ray Spex,
Sun Ra,
Robert Görl,
Agent Orange,
Red Lorry Yellow Lorry,
Hasil Adkins,
Steve Hackett,
The Mojo Men,
Zero Boys,
The Martian,
The Slackers,
De La Soul & Jungle Brothers,
Erasure,
Derrick Morgan,
Scratch Acid,
Louis and Bebe Barron,
Eyeless In Gaza,
Todd Terry,
Davy DMX,
Byron Stingily,
Wire,
Easy Going, Easy Going, Easy Going, Easy Going.
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.