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 Belize and from Winnipeg.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Bremen.
I'm losing my edge to the art-school New York 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet 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 Silicon Teens to the funk 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 Brothers Johnson. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Niagra,
The Kinks,
The Modern Lovers,
Chris Corsano,
Sandy B,
Wolf Eyes,
Avey Tare's Slasher Flicks,
L. Decosne,
Lafayette Afro Rock Band,
Danielle Patucci,
Deakin,
Interpol,
Fifty Foot Hose,
Marc Almond,
Echo & the Bunnymen,
Drexciya,
Wasted Youth,
The Dave Clark Five,
Ice-T,
Infiniti,
Selector Dub Narcotic,
Hasil Adkins,
Boogie Down Productions,
Crime,
Shuggie Otis,
Banda Bassotti,
Dennis Brown,
Kerri Chandler,
The Sisters of Mercy,
June of 44,
Gerry Rafferty,
Letta Mbulu,
The Shadows of Knight,
Joe Finger,
Oneida,
Half Japanese,
The Birthday Party,
Kurtis Blow,
Electric Light Orchestra,
Procol Harum,
Laurel Aitken,
Index,
The Gladiators,
The Misunderstood,
Symarip,
Second Layer,
It's A Beautiful Day,
Robert Görl,
Glenn Branca,
Lou Reed & Metallica,
Organ,
Cameo,
Eurythmics,
Don Cherry,
Peter Gordon & Love of Life Orchestra,
Grandmaster Flash,
The Remains,
The Mighty Diamonds,
Average White Band,
Lightning Bolt,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.