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 Manchester.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Lyon and Halifax.
I'm losing my edge to the art-school Glasgow 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 chamberlin 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 Thinking Fellers Union Local 282 to the dance kids.
I played it at the Roxy.
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 Colin Newman. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
The Fuzztones,
Eric Copeland,
Derrick May,
Soft Cell,
The Cure,
Art Ensemble Of Chicago,
Strawberry Alarm Clock,
Laurel Aitken,
Echo & the Bunnymen,
Howard Jones,
the Fania All-Stars,
Marcia Griffiths,
Procol Harum,
Guru Guru,
Wolf Eyes,
Cal Tjader,
Graham Central Station,
Ossler,
Josef K,
A Certain Ratio,
Scott Walker,
Jimmy McGriff,
The Cramps,
Hot Snakes,
Blancmange,
Neil Young,
Chris & Cosey,
Sad Lovers and Giants,
Tom Boy,
Eric B and Rakim,
Neu!,
Nik Kershaw,
Lou Christie,
Henry Cow,
Harry Pussy,
Mark Hollis,
The Seeds,
Spoonie Gee,
Animal Collective,
Pete Rock & C.L. Smooth,
Jacques Brel,
Cluster,
Smog,
Index,
Pulsallama,
The Electric Prunes,
Rhythm & Sound,
Kauko Röyhkä ja Narttu,
The Offenders,
Reuben Wilson,
Y Pants,
Röyhkä ja Rättö ja Lehtisalo,
Ituana,
Arcadia,
X-Ray Spex,
Franke,
Crooked Eye,
Tommy Roe,
Lou Reed,
The Mummies, The Mummies, The Mummies, The Mummies.
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.