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 Dominica and from Shanghai.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Halifax and Calgary.
I'm losing my edge to the art-school Philadelphia 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Flash Fearless 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 Dead Boys. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
The Dave Clark Five,
Nation of Ulysses,
Teenage Jesus and the Jerks,
Black Moon,
Ralphi Rosario,
Nik Kershaw,
Todd Terry,
Slave,
The Smoke,
Kaleidoscope,
Harry Pussy,
Vaughan Mason & Crew,
Kenny Larkin,
Yellowson,
Tomorrow,
Mr. Review,
The Stooges,
Ice-T,
Deutsch Amerikanische Freundschaft,
Das Ding,
Bang On A Can,
Niagra,
T.S.O.L.,
Dawn Penn,
The Tremeloes,
A Flock of Seagulls,
X-Ray Spex,
F. McDonald,
Jesper Dahlbäck,
Khruangbin,
Quadrant,
Youth Brigade,
Davy DMX,
Oppenheimer Analysis,
Banda Bassotti,
Yaz,
Lou Christie,
Qualms,
Bizarre Inc.,
Connie Case,
Hashim,
The Gladiators,
PIL,
Rowland S Howard / Lydia Lunch,
Mission of Burma,
Moss Icon,
AZ,
Michelle Simonal,
The Fugs,
The Associates,
The J.B.'s,
Drexciya,
Darondo,
The Doors,
Pet Shop Boys,
Jerry's Kids,
The Zeros,
Ultravox,
Bill Near,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.