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 Nicaragua and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television 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 1969 to 1970.
I'm losing my edge.
To all the kids in Madrid and Toronto.
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 Captain Beefheart 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 Siouxsie and the Banshees to the grunge 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 Magazine. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
The Electric Prunes,
The Star Department,
Newcleus,
Lebanon Hanover,
Susan Cadogan,
Joensuu 1685,
Radiopuhelimet,
Sonic Youth,
the Association,
Moby Grape,
The Evens,
Richard Hell and the Voidoids,
The Pop Group,
Pharaoh Sanders and the Fire Engines,
Gil Scott-Heron & Brian Jackson,
Depeche Mode,
X-101,
Anakelly,
Mr. Review,
Grey Daturas,
Wire,
Super Lover Cee & Casanova Rud,
Nico,
Hasil Adkins,
Drexciya,
Dr. Dre and Snoop Doggy Dog,
Motorama,
Yusef Lateef,
Robert Görl,
The United States of America,
Kerri Chandler,
Moss Icon,
Livin' Joy,
Flash Fearless,
Symarip,
Siouxsie and the Banshees,
Josef K,
Y Pants,
Rosa Yemen,
The Victims,
Spoonie Gee,
Tres Demented,
Ronan,
The Slits,
Eurythmics,
Arthur Verocai,
Quantec,
10cc,
Camron Feat. Memphis Bleek And Beenie Seigel,
Trumans Water,
Amon Düül II,
The Beau Brummels,
Ultra Naté,
Kango’s Stein Massive,
Jacques Brel,
Index,
Fort Wilson Riot,
Mad Mike,
Mary Jane Girls,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.