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 Equatorial Guinea and from Delhi.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Delhi 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the synthesizer 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 Sarah Menescal to the disco kids.
I played it at Trash.
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 Brick. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every John Cale 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Radiohead,
John Coltrane,
Minnie Riperton,
Newcleus,
Rakim,
Scott Walker + Sunn O))),
Sad Lovers and Giants,
Johnny Osbourne,
The Monks,
The Alarm Clocks,
Girls At Our Best!,
Pierre Henry,
Nick Fraelich,
Ohio Players,
Ultra Naté,
CMW,
Dave Gahan,
Fatback Band,
Soul Sonic Force,
Marmalade,
Be Bop Deluxe,
Thee Headcoats,
Roy Ayers Ubiquity,
The Men They Couldn't Hang,
Jawbox,
Joensuu 1685,
Mary Jane Girls,
Deutsch Amerikanische Freundschaft,
Chris Corsano,
Angels of Light & Akron/Family,
Heaven 17,
Jacques Brel,
Scion,
Shuggie Otis,
The Neon Judgement,
Jerry Gold Smith,
Art Ensemble Of Chicago,
Red Lorry Yellow Lorry,
DNA,
Jesper Dahlback,
Quantec,
Saccharine Trust,
Bobby Womack,
The Smiths,
MC5,
The Index,
Danielle Patucci,
Thompson Twins,
Bobby Byrd,
Deepchord,
Grey Daturas,
Whodini,
Crash Course in Science,
Eddi Front,
Gang Green,
DJ Sneak,
Tears for Fears,
Dennis Brown,
Groovy Waters,
X-102,
Leonard Cohen,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.