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 Tajikistan and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Milan 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 1973 at the first Television practice in a loft in New York.
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 Nation of Ulysses to the jazz kids.
I played it at the Astoria.
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 Gerry Rafferty. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Pierre Henry,
The Monochrome Set,
Infiniti,
Jacob Miller,
Accadde A,
The Names,
Blossom Toes,
Roy Ayers Ubiquity,
Negative Approach,
One Last Wish,
Black Flag,
Robert Hood,
The Last Poets,
Eyeless In Gaza,
The Sound,
Marcia Griffiths,
Kauko Röyhkä ja Narttu,
Aural Exciters,
Bobby Womack,
David Bowie,
Tears for Fears,
New York Dolls,
Gang Gang Dance,
Joensuu 1685,
Ralphi Rosario,
Agitation Free,
Soft Machine,
The Vogues,
Jawbox,
Ajijia Myrayebe,
Quando Quango,
The Star Department,
Little Man,
Harmonia,
Groovy Waters,
The Fugs,
Ash Ra Tempel,
Ultramagnetic MC's,
The Residents,
Das Ding,
Rowland S Howard / Lydia Lunch,
Deepchord,
Warren Ellis,
Peter Gordon & Love of Life Orchestra,
Spandau Ballet,
Severed Heads,
Con Funk Shun,
Gong,
Interpol,
The Smoke,
Bill Near,
Sound Behaviour,
Grauzone,
Lafayette Afro Rock Band,
Nas,
Gian Franco Pienzio,
Supertramp,
Avey Tare's Slasher Flicks,
Kas Product,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.