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 Indonesia and from Lyon.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Taipei and Sao Paulo.
I'm losing my edge to the art-school Woodstock 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 Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 The Modern Lovers to the jazz kids.
I played it at the Spitz.
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 Lizzy Mercier Descloux. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
The Vogues,
Blancmange,
Marc Almond,
Patti Smith,
Shuggie Otis,
Altered Images,
AZ,
the Swans,
Clear Light,
Minnie Riperton,
Franke,
Index,
Nick Fraelich,
The Standells,
DeepChord presents Echospace,
Rakim,
Slave,
The Real Kids,
The Move,
Rowland S Howard / Lydia Lunch,
Can,
Model 500,
Andrew Ashong & Theo Parrish,
Fugazi,
Connie Case,
Bauhaus,
The Wake,
Joy Division,
Larry & the Blue Notes,
Hoover,
Kevin Saunderson,
Fad Gadget,
Todd Terry,
Major Organ And The Adding Machine,
John Holt,
Mark Hollis,
The Index,
Kool G Rap & DJ Polo,
48th St. Collective,
Warren Ellis,
Rhythm & Sound,
Sparks,
Skaos,
Davy DMX,
Stockholm Monsters,
New York Dolls,
Symarip,
Sunsets and Hearts,
Robert Wyatt,
Banda Bassotti,
Smog,
Peter Gordon & Love of Life Orchestra,
The Searchers,
Sällskapet,
Roxy Music,
Half Japanese,
Deutsch Amerikanische Freundschaft,
The Monks,
The Happenings,
Quantec,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.