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 Uruguay and from Copenhagen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Delhi and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 The Fugs to the crunk kids.
I played it at the Astoria.
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 The Monochrome Set. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Isaac Hayes,
Unrelated Segments,
The Electric Prunes,
Amon Düül II,
Yazoo,
Minny Pops,
Aswad,
Soft Machine,
The Alarm Clocks,
Sun Ra,
The Dave Clark Five,
Avey Tare's Slasher Flicks,
Terrestrial Tones,
The Raincoats,
The Dead C,
Crispian St. Peters,
The Modern Lovers,
Bauhaus,
Easy Going,
Chris & Cosey,
The Stooges,
Joe Smooth,
Bang on a Can All-Stars,
The Fall,
Gerry Rafferty,
Fatback Band,
The Cramps,
Youth Brigade,
Crooked Eye,
Pharaoh Sanders and the Fire Engines,
Ken Boothe,
The Associates,
The Durutti Column,
The Men They Couldn't Hang,
The West Coast Pop Art Experimental Band,
Icehouse,
Donald Byrd,
Letta Mbulu,
Sarah Menescal,
Graham Central Station,
Soulsonic Force,
Toni Rubio,
John Foxx,
Kevin Saunderson,
Sister Nancy,
New Age Steppers,
Big Daddy Kane,
Leonard Cohen,
Visage,
MDC,
Grandmaster Flash and the Furious Five,
Royal Trux,
Monolake,
The Chocolate Watch Band,
Ludus,
The Seeds,
Urselle,
Godley & Creme,
Delon & Dalcan,
Lafayette Afro Rock Band,
Cymande,
Fugazi, Fugazi, Fugazi, Fugazi.
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.