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 Nicaragua and from Cairo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Lyon and Bologna.
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 güiro sounds with much patience.
I was there when Michael McDonald 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 Eli Mardock to the disco kids.
I played it at CBGB's.
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 Neon Judgement. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Sound Behaviour 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Ash Ra Tempel,
The Last Poets,
Crispy Ambulance,
Radiopuhelimet,
Yellowson,
Lindisfarne,
Babytalk,
New York Dolls,
Alison Limerick,
Be Bop Deluxe,
Blancmange,
Moby Grape,
Warren Ellis,
Chrome,
The Residents,
Sam Rivers,
Major Organ And The Adding Machine,
Electric Light Orchestra,
Crime,
Fad Gadget,
Heaven 17,
Brass Construction,
Susan Cadogan,
Crash Course in Science,
The Fortunes,
Cabaret Voltaire,
Thee Headcoats,
Kayak,
Tom Boy,
Nation of Ulysses,
The Slackers,
The Jesus and Mary Chain,
Jeff Mills,
Kas Product,
LL Cool J,
Matthew Halsall,
Bobby Sherman,
Pussy Galore,
Wings,
The Cowsills,
Neil Young,
The Doobie Brothers,
the Fania All-Stars,
Cecil Taylor,
The Human League,
The Happenings,
Duran Duran,
Schoolly D,
John Holt,
Glenn Branca,
MC5,
The Index,
Byron Stingily,
Sad Lovers and Giants,
Camberwell Now,
Andrew Hill,
Ohio Players,
Ken Boothe,
AZ,
Delon & Dalcan,
CMW,
Spandau Ballet,
The American Breed, The American Breed, The American Breed, The American Breed.
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.