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 Haiti and from Philadelphia.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Halifax 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the rhodes 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 Ponytail to the punk kids.
I played it at the 40 Watt.
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 Vaughan Mason & Crew. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
DNA,
Q65,
June of 44,
The Men They Couldn't Hang,
Matthew Halsall,
The Young Rascals,
Deepchord,
The Fugs,
Eli Mardock,
Cybotron,
Lower 48,
Hoover,
Ohio Players,
Roger Hodgson,
Brothers Johnson,
Second Layer,
Judy Mowatt,
Marc Romboy vs. Booka Shade,
The Sonics,
The New Christs,
Laurel Aitken,
Pet Shop Boys,
The West Coast Pop Art Experimental Band,
Siglo XX,
Skarface,
It's A Beautiful Day,
Ronnie Foster,
DJ Style,
B.T. Express,
Desert Stars,
Byron Stingily,
Siouxsie and the Banshees,
Visage,
Oppenheimer Analysis,
Sonic Youth,
The Grass Roots,
Alphaville,
Juan Atkins,
Jesper Dahlbäck,
Grandmaster Flash and the Furious Five,
Aaron Thompson,
Ponytail,
MC5,
The Five Americans,
Dead Boys,
Jerry Gold Smith,
Max Romeo,
T. Rex,
Camouflage,
Grauzone,
UT,
Susan Cadogan,
Wasted Youth,
Joensuu 1685,
Charles Mingus,
The Remains,
Bang on a Can All-Stars,
Gang Starr,
Lebanon Hanover,
Jimmy McGriff,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.