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 Luxembourg and from Houston.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Milan and Tehran.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
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 Amon Düül II to the rap kids.
I played it at Cafe Wha.
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 Adolescents. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Todd Rundgren record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 Derrick Morgan record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Sonny Sharrock,
Goldenarms,
Michelle Simonal,
Roxette,
Rahsaan Roland Kirk,
Shuggie Otis,
Can,
Nik Kershaw,
Grey Daturas,
Lindisfarne,
Manfred Mann's Earth Band,
Metal Thangz,
Spandau Ballet,
Barbara Tucker,
Con Funk Shun,
Lungfish,
Make Up,
Lou Reed & Metallica,
Byron Stingily,
Oppenheimer Analysis,
The Velvet Underground,
F. McDonald,
Black Pus,
Eden Ahbez,
Unrelated Segments,
Reagan Youth,
Ituana,
Red Lorry Yellow Lorry,
Pantaleimon,
The Star Department,
Sällskapet,
Cameo,
Duran Duran,
Public Image Ltd.,
Adolescents,
Crooked Eye,
Gang Gang Dance,
Spoonie Gee,
48th St. Collective,
The Martian,
Lakeside,
Barclay James Harvest,
Sunsets and Hearts,
Rufus Thomas,
B.T. Express,
Bauhaus,
The Jesus and Mary Chain,
The Evens,
Alison Limerick,
Harpers Bizarre,
Zero Boys,
Jimmy McGriff,
Fifty Foot Hose,
Mission of Burma,
The Cramps,
DJ Sneak,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.