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 Greece and from Bremen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Bremen and Jakarta.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the marimba 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 Roy Ayers Ubiquity to the disco kids.
I played it at Cafe Wha.
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 Y Pants. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Warren Ellis,
Crispian St. Peters,
Charles Mingus,
Make Up,
The Detroit Cobras,
Newcleus,
Heavy D & The Boyz,
Lafayette Afro Rock Band,
A Flock of Seagulls,
Babytalk,
The Cramps,
David Axelrod,
The Sound,
Magazine,
The Pop Group,
Pere Ubu,
Matthew Halsall,
Manfred Mann's Earth Band,
Girls At Our Best!,
Barry Ungar,
Visage,
Organ,
Funky Four + One,
Judy Mowatt,
Ten City,
Pharoah Sanders,
Interpol,
Liliput,
Outsiders,
Mandrill,
Fela Kuti,
Q65,
Tom Boy,
Pussy Galore,
Lalo Schifrin,
John Cale,
Brick,
Joe Finger,
The Names,
Spandau Ballet,
Nik Kershaw,
Tears for Fears,
Scan 7,
Laurel Aitken,
Notorious Big And Bone Thugs,
The Pretty Things,
Sound Behaviour,
Scott Walker,
Hardrive,
Heaven 17,
Nick Fraelich,
Joensuu 1685,
The Zeros,
Pantytec,
Davy DMX,
Quadrant,
Amazonics,
Yaz, Yaz, Yaz, Yaz.
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.