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 1968 to 1979.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Music Machine to the techno kids.
I played it at CBGB's.
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 Lyres. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
Yellowson,
Rhythm & Sound,
Soulsonic Force,
Bang on a Can All-Stars,
Procol Harum,
Schoolly D,
The Durutti Column,
John Lydon,
Zero Boys,
Scientists,
Wolf Eyes,
Joe Smooth,
Urselle,
The Toasters,
the Bar-Kays,
Todd Rundgren,
Masters at Work,
Moby Grape,
The Barracudas,
The Pop Group,
Slick Rick,
The Offenders,
Saccharine Trust,
Ten City,
New Age Steppers,
The Busters,
Icehouse,
Patti Smith,
Kas Product,
Nik Kershaw,
Minny Pops,
The West Coast Pop Art Experimental Band,
Junior Murvin,
Rotary Connection,
Public Enemy,
The Electric Prunes,
Ludus,
Jeff Lynne,
The Beau Brummels,
Eve St. Jones,
Echospace,
Terry Callier,
Pussy Galore,
The Happenings,
Rekid,
Infiniti,
The Black Dice,
Stiv Bators,
Severed Heads,
The Peanut Butter Conspiracy,
R.M.O.,
Piero Umiliani,
The Seeds,
Tomorrow,
Swans,
Notorious BIG live in Amsterdam,
Godley & Creme,
The Moody Blues,
Aural Exciters,
Crooked Eye,
Josef K,
Soft Machine,
Heavy D & The Boyz,
The Selecter, The Selecter, The Selecter, The Selecter.
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.