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 Montenegro and from Halifax.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Toronto and Spokane.
I'm losing my edge to the art-school Lyon 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 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 Technova to the techno kids.
I played it at the Roxy.
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 Babytalk. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Amon Düül 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 '90s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
X-102,
Brothers Johnson,
Johnny Clarke,
PIL,
The Doors,
New York Dolls,
Roxette,
Ludus,
Tropical Tobacco,
Albert Ayler,
Marc Almond,
Electric Light Orchestra,
Marcia Griffiths,
kango's stein massive,
UT,
Minny Pops,
The Cosmic Jokers,
Kurtis Blow,
Eve St. Jones,
Dorothy Ashby,
Pylon,
The Golliwogs,
Nas,
Harry Pussy,
Stiv Bators,
Letta Mbulu,
Rites of Spring,
Morten Harket,
Iggy Pop,
The Mighty Diamonds,
The Searchers,
Graham Central Station,
Agent Orange,
Mission of Burma,
Stockholm Monsters,
Quantec,
Clear Light,
Bobby Hutcherson,
Lucky Dragons,
Sister Nancy,
The Monochrome Set,
Derrick Morgan,
Kerrie Biddell,
The Techniques,
Gary Puckett & The Union Gap,
the Soft Cell,
Girls At Our Best!,
Joe Finger,
Henry Cow,
Tears for Fears,
Roy Ayers Ubiquity,
Make Up,
Parry Music,
Bill Near,
Junior Murvin,
Throbbing Gristle,
Scion,
Sly & The Family Stone,
The Durutti Column,
DJ Sneak,
The Star Department,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.