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 East Timor and from Paris.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Milan and Lyon.
I'm losing my edge to the art-school Portland 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Steve Hackett to the grime kids.
I played it at the 40 Watt.
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 Roger Hodgson. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
The Stooges,
David McCallum,
Half Japanese,
The Electric Prunes,
The Gun Club,
Scrapy,
Sexual Harrassment,
Jesper Dahlback,
Chris Corsano,
Vaughan Mason & Crew,
8 Eyed Spy,
Orchestral Manoeuvres in the Dark,
Sun City Girls,
H. Thieme,
Livin' Joy,
Lower 48,
Mr. Review,
Rhythm & Sound,
Von Mondo,
Wasted Youth,
Dennis Brown,
Ralphi Rosario,
Gang Green,
Girls At Our Best!,
Ultramagnetic MC's,
Minnie Riperton,
John Lydon,
DJ Sneak,
Joe Finger,
The Shadows of Knight,
Joensuu 1685,
Radiohead,
Minor Threat,
Grauzone,
Johnny Osbourne,
Cheater Slicks,
CMW,
Robert Görl,
The Gladiators,
Motorama,
Scion,
Neil Young & Crazy Horse,
Infiniti,
Parry Music,
Interpol,
Soulsonic Force,
Gregory Isaacs,
Zero Boys,
a-ha,
The Five Americans,
Cabaret Voltaire,
Supertramp,
Basic Channel,
R.M.O.,
Cameo,
10cc,
Liliput,
The Associates,
De La Soul & Jungle Brothers,
Radio Birdman,
Wally Richardson,
Babytalk,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.