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 Moldova and from Paris.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Manchester 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 chamberlin 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 Young Rascals to the grime kids.
I played it at the Troubador.
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 The Electric Prunes. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal disco 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 a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
Clear Light,
The Names,
Brand Nubian,
Gil Scott Heron,
Cecil Taylor,
Camouflage,
Harry Pussy,
Fluxion,
Eurythmics,
Alton Ellis,
Steve Hackett,
Gang Gang Dance,
Pantaleimon,
Ituana,
The Fuzztones,
Arthur Verocai,
Ultra Naté,
Marc Almond,
Lou Christie,
Aswad,
Mr. Review,
Orchestral Manoeuvres in the Dark,
Jeff Lynne,
The Index,
Brass Construction,
kango's stein massive,
A Flock of Seagulls,
The Electric Prunes,
The Mummies,
Deutsch Amerikanische Freundschaft,
Chris Corsano,
John Foxx,
Rhythm & Sound,
Quadrant,
Bush Tetras,
Fatback Band,
Eden Ahbez,
Röyhkä ja Rättö ja Lehtisalo,
the Fania All-Stars,
Joe Finger,
Crispy Ambulance,
Scientists,
Jerry Gold Smith,
New York Dolls,
Boz Scaggs,
Erykah Badu,
Pole,
Kayak,
Ice-T,
Swell Maps,
Toni Rubio,
Infiniti,
Lou Reed & Metallica,
Adolescents,
Suburban Knight,
Hardrive,
Fugazi,
Spoonie Gee,
Ronan,
Minnie Riperton,
Laurel Aitken,
The Sonics,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.