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 Syria and from Tokyo.
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 1970.
I'm losing my edge.
To all the kids in New York and Spokane.
I'm losing my edge to the art-school Toronto 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 linndrum 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 Stockholm Monsters to the dance 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 Blancmange. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal rap 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Drive Like Jehu,
Grauzone,
Interpol,
Spandau Ballet,
Ludus,
Organ,
Richard Hell and the Voidoids,
Dennis Brown,
Donny Hathaway,
Girls At Our Best!,
Los Fastidios,
Second Layer,
Jeru the Damaja,
Faust,
Siouxsie and the Banshees,
D'Angelo,
Circle Jerks,
Nico,
Spoonie Gee,
One Last Wish,
Gil Scott-Heron and Jamie xx,
Gang Green,
Fatback Band,
Harpers Bizarre,
Tommy Roe,
Mark Hollis,
Bill Near,
Gastr Del Sol,
The Pop Group,
Scrapy,
Barrington Levy,
Quando Quango,
London Community Gospel Choir,
Davy DMX,
Main Source,
Ronan,
Nik Kershaw,
Thee Headcoats,
Kaleidoscope,
Drexciya,
Peter and Kerry,
Shoche,
Lightning Bolt,
The Cure,
Joe Smooth,
Camberwell Now,
Gregory Isaacs,
Lonnie Liston Smith,
Vladislav Delay,
Monolake,
Barbara Tucker,
Sun City Girls,
the Normal,
Alton Ellis,
Gang Gang Dance,
Joey Negro,
Nas,
The Fugs,
X-101,
The Associates,
Severed Heads,
Ronnie Foster,
F. McDonald,
The Kinks, The Kinks, The Kinks, The Kinks.
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.