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 Liberia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1960 to 1974.
I'm losing my edge.
To all the kids in Taipei and Bremen.
I'm losing my edge to the art-school Halifax 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 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 The Real Kids to the funk kids.
I played it at the Crocodile.
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 Graham Central Station. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Tim Buckley 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Duran Duran,
L. Decosne,
Soft Machine,
Brand Nubian,
Nirvana,
The Divine Comedy,
The Litter,
Motorama,
Arcadia,
Lungfish,
Negative Approach,
Rhythm & Sound,
Von Mondo,
The Wake,
Marshall Jefferson,
the Normal,
Skaos,
Avey Tare's Slasher Flicks,
Howard Jones,
Ohio Players,
Country Teasers,
Selector Dub Narcotic,
The Birthday Party,
MDC,
Jerry's Kids,
Sixth Finger,
Agitation Free,
The Victims,
The Blackbyrds,
The Happenings,
Scion,
Pulsallama,
Nik Kershaw,
Throbbing Gristle,
Sugar Minott,
The Last Poets,
Reuben Wilson,
JFA,
Captain Beefheart & His Magic Band,
Beasts of Bourbon,
cv313,
Faust,
Man Eating Sloth,
The New Christs,
Lyres,
Larry & the Blue Notes,
Man Parrish,
Half Japanese,
Ronan,
Max Romeo,
Pet Shop Boys,
Nas,
The Dead C,
Notorious Big And Bone Thugs,
Audionom,
Dark Day,
Pharoah Sanders,
R.M.O.,
Lower 48,
a-ha,
Severed Heads,
Alphaville, Alphaville, Alphaville, Alphaville.
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.