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 Cyprus and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Calgary and Milan.
I'm losing my edge to the art-school Glasgow 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 The Barracudas to the jazz kids.
I played it at the Spitz.
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 Jesper Dahlbäck. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Leonard Cohen,
Hasil Adkins,
Procol Harum,
The Black Dice,
Vladislav Delay,
Lyres,
Tom Boy,
Sun Ra,
Max Romeo,
Section 25,
Drexciya,
Tubeway Army,
AZ,
Dead Boys,
David McCallum,
MC5,
De La Soul & Jungle Brothers,
Henry Cow,
The Doobie Brothers,
Wally Richardson,
Amon Düül,
Stockholm Monsters,
The Mummies,
The Martian,
The Sisters of Mercy,
Public Enemy,
David Axelrod,
Maleditus Sound,
Pussy Galore,
The Monochrome Set,
Ohio Players,
Babytalk,
The Selecter,
Marcia Griffiths,
Metal Thangz,
Groovy Waters,
Livin' Joy,
Pylon,
The Last Poets,
Fear,
Avey Tare,
Mr. Review,
The Neon Judgement,
The Doors,
Moby Grape,
Japan,
Idris Muhammad,
Deadbeat,
Chris & Cosey,
The Monks,
Beasts of Bourbon,
Lizzy Mercier Descloux,
John Lydon,
Danielle Patucci,
Steve Hackett,
Fatback Band,
Half Japanese,
The Gap Band,
Kerrie Biddell,
The Pop Group,
Eden Ahbez,
Ponytail,
Al Stewart,
Ronan, Ronan, Ronan, Ronan.
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.