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 Antigua and from Salvador.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lyon and Taipei.
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 at the first Suicide practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Banda Bassotti to the rock 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 Kauko Röyhkä ja Narttu. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Soul II Soul record on German import.
I heard that you have a white label of every seminal rock 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Bootsy's Rubber Band,
Barbara Tucker,
The Birthday Party,
Ultimate Spinach,
Judy Mowatt,
The Beau Brummels,
Chris Corsano,
Lightning Bolt,
Cameo,
The Stooges,
Animal Collective,
Gil Scott-Heron & Brian Jackson,
Boogie Down Productions,
Bang On A Can,
Fela Kuti,
Television,
Be Bop Deluxe,
Laurel Aitken,
The Skatalites,
Lalann,
The Blackbyrds,
Urselle,
Bobby Sherman,
Aswad,
Lakeside,
Little Man,
Bizarre Inc.,
Robert Wyatt,
Red Lorry Yellow Lorry,
Suburban Knight,
Maurizio,
Marmalade,
Sugar Minott,
Colin Newman,
Goldenarms,
Notorious BIG live in Amsterdam,
Hoover,
JFA,
MDC,
The Flesh Eaters,
Deutsch Amerikanische Freundschaft,
Bobby Byrd,
Negative Approach,
Lou Reed & John Cale,
New York Dolls,
The Tremeloes,
The Count Five,
Todd Rundgren,
Kings Of Tomorrow,
Spandau Ballet,
Shuggie Otis,
Arab on Radar,
Severed Heads,
Rhythm & Sound,
Radiopuhelimet,
Echo & the Bunnymen,
Liaisons Dangereuses,
Beasts of Bourbon,
Terrestrial Tones,
Marshall Jefferson,
Hardrive, Hardrive, Hardrive, Hardrive.
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.