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 Taiwan and from Sao Paulo.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Portland and Beijing.
I'm losing my edge to the art-school Tehran 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 guitar 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 Gil Scott-Heron & Brian Jackson to the rap 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 Johnny Clarke. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Jawbox,
Mandrill,
Lou Christie,
CMW,
the Slits,
Ten City,
Kool G Rap & DJ Polo,
The Victims,
the Soft Cell,
Bobbi Humphrey,
June Days,
Notorious BIG live in Amsterdam,
David Bowie,
Agent Orange,
Radiohead,
Yazoo,
Bootsy Collins,
Barclay James Harvest,
Adolescents,
Crime,
The Monochrome Set,
Inner City,
Bootsy's Rubber Band,
Matthew Halsall,
The Move,
The Remains,
The Fire Engines,
Shoche,
Electric Light Orchestra,
The Pretty Things,
Susan Cadogan,
The Knickerbockers,
H. Thieme,
Rosa Yemen,
David Axelrod,
Easy Going,
EPMD,
The West Coast Pop Art Experimental Band,
Sister Nancy,
Ash Ra Tempel,
Anakelly,
Leonard Cohen,
Eric B and Rakim,
Crispian St. Peters,
Rhythim Is Rhythim,
The Sisters of Mercy,
Henry Cow,
The Techniques,
Rowland S Howard / Lydia Lunch,
The Pop Group,
Bauhaus,
Ossler,
Godley & Creme,
Peter Gordon & Love of Life Orchestra,
Ornette Coleman,
The Chocolate Watch Band,
Red Lorry Yellow Lorry,
Glambeats Corp.,
Al Stewart,
John Lydon,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.