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 Pakistan 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 1973.
I'm losing my edge.
To all the kids in Mexico City and Portland.
I'm losing my edge to the art-school Taipei 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 1977 at the first Zapp practice in a loft in Hamilton.
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 Hot Snakes to the jazz 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 kango's stein massive. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
The Fortunes,
Mars,
Blossom Toes,
De La Soul & Jungle Brothers,
Desert Stars,
Ralphi Rosario,
Wings,
The Seeds,
Magazine,
The Pop Group,
Tomorrow,
Livin' Joy,
the Fania All-Stars,
Sugar Minott,
Heaven 17,
Zero Boys,
Nik Kershaw,
Erykah Badu,
Model 500,
Maurizio,
Nico,
Neu!,
Aural Exciters,
Siglo XX,
The Alarm Clocks,
The Offenders,
Deakin,
Spoonie Gee,
The Jesus and Mary Chain,
Parry Music,
Qualms,
Loose Ends,
Inner City,
London Community Gospel Choir,
Magma,
Infiniti,
The Sound,
Public Image Ltd.,
The J.B.'s,
Marc Almond,
Glambeats Corp.,
Ultravox,
Toni Rubio,
Popol Vuh,
Liaisons Dangereuses,
The Leaves,
Gang of Four,
Wasted Youth,
Crispian St. Peters,
Bootsy Collins,
The Count Five,
Rapeman,
The Human League,
Moebius,
Electric Light Orchestra,
Selector Dub Narcotic,
Albert Ayler,
Jawbox,
The Gun Club,
John Cale,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.