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 Kazakhstan and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Mexico City 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 güiro 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 Qualms to the jazz 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 Accadde A. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Nico,
Fort Wilson Riot,
Brass Construction,
Electric Light Orchestra,
U.S. Maple,
Bang on a Can All-Stars,
Susan Cadogan,
Minor Threat,
Dave Gahan,
The Royal Family And The Poor,
John Coltrane,
The Tremeloes,
June of 44,
Radio Birdman,
Lalo Schifrin,
The Names,
Tom Boy,
Barbara Tucker,
Scion,
PIL,
Peter & Gordon,
Sparks,
Cabaret Voltaire,
Hashim,
Robert Görl,
Joyce Sims,
Mark Hollis,
Spandau Ballet,
Mr. Review,
Japan,
Max Romeo,
Liliput,
The Pretty Things,
Porter Ricks,
Nick Fraelich,
Ronnie Foster,
China Crisis,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Accadde A,
Blancmange,
Drive Like Jehu,
Dead Boys,
Derrick May,
Amazonics,
The Selecter,
Sam Rivers,
Bobby Womack,
Audionom,
Cymande,
The Knickerbockers,
Harpers Bizarre,
Crime,
Desert Stars,
Avey Tare's Slasher Flicks,
Lizzy Mercier Descloux,
Justin Hinds & The Dominoes,
Soft Machine,
Jerry Gold Smith,
Radiohead,
Kool Moe Dee,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.