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 Djibouti and from Milan.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Toronto and Taipei.
I'm losing my edge to the art-school Houston 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 mellotron 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 D'Angelo to the crunk kids.
I played it at the Hacienda.
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 Niagra. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal grime 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 theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
The Gladiators,
Popol Vuh,
MDC,
Kool Moe Dee,
Skarface,
Khruangbin,
Liliput,
Roy Ayers,
Faust,
Subhumans,
The Black Dice,
Robert Wyatt,
The Moody Blues,
Darondo,
Dr. Dre and Snoop Doggy Dog,
The Mojo Men,
Model 500,
Kevin Saunderson,
Ice-T,
Jacques Brel,
Lou Christie,
Arthur Verocai,
Mr. Review,
Ralphi Rosario,
Vladislav Delay,
Flamin' Groovies,
Glenn Branca,
kango's stein massive,
the Human League,
Eli Mardock,
The Divine Comedy,
Pharaoh Sanders and the Fire Engines,
The Busters,
KRS-One,
Q65,
Interpol,
Blancmange,
Masters at Work,
Talk Talk,
Shoche,
Rahsaan Roland Kirk,
Yellowson,
Ten City,
The Wake,
Cluster,
Freddie Wadling,
John Cale,
James Chance & The Contortions,
Supertramp,
Dead Boys,
Gil Scott-Heron and Jamie xx,
The Move,
Whodini,
Babytalk,
Lafayette Afro Rock Band,
Gian Franco Pienzio,
Warsaw,
The Misunderstood,
Leonard Cohen,
Brick,
Magma,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.