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 Mali and from Columbus.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Jakarta 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 arpeggiator 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 Amon Düül II to the grunge 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 The Music Machine. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Avey Tare's Slasher Flicks,
Inner City,
The Misunderstood,
The Golliwogs,
Avey Tare & Kría Brekkan,
Boredoms,
Masters at Work,
Kenny Larkin,
Deepchord,
a-ha,
Glambeats Corp.,
Yaz,
The Remains,
Tommy Roe,
Hasil Adkins,
Dr. Dre and Snoop Doggy Dog,
Sexual Harrassment,
Roy Ayers,
DNA,
Aloha Tigers,
Rod Modell,
The West Coast Pop Art Experimental Band,
John Holt,
Freddie Wadling,
Graham Central Station,
Fat Boys,
The Chocolate Watch Band,
The Barracudas,
The Pop Group,
D'Angelo,
Kerrie Biddell,
Stiv Bators,
Hardrive,
Panda Bear,
Skriet,
Public Image Ltd.,
New Age Steppers,
Cecil Taylor,
Shuggie Otis,
Bobbi Humphrey,
Howard Jones,
Dark Day,
Mars,
The Martian,
John Cale,
It's A Beautiful Day,
Motorama,
the Slits,
Q65,
La Düsseldorf,
Lucky Dragons,
Crooked Eye,
Massinfluence,
Sun City Girls,
Kango’s Stein Massive,
Barclay James Harvest,
Reagan Youth,
Symarip,
Matthew Bourne,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.