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 Belarus and from Beijing.
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 1978.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
I'm losing my edge to the art-school New York 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Flamin' Groovies to the electroclash kids.
I played it at Cafe Wha.
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 Red Krayola. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Sound Behaviour,
Frankie Knuckles,
Second Layer,
Minor Threat,
Cymande,
The Modern Lovers,
Peter Gordon & Love of Life Orchestra,
Notorious BIG live in Amsterdam,
Eric Dolphy,
Neil Young,
Jesper Dahlback,
Moss Icon,
Bootsy's Rubber Band,
Kenny Larkin,
Rowland S Howard / Lydia Lunch,
Heavy D & The Boyz,
The Techniques,
The Buckinghams,
Jacob Miller,
New Order,
Sandy B,
Neu!,
Stereo Dub,
The Last Poets,
Connie Case,
Von Mondo,
Bob Dylan,
X-Ray Spex,
The Electric Prunes,
Bad Manners,
Tim Buckley,
Ultravox,
Soulsonic Force,
Pharaoh Sanders and the Fire Engines,
Mr. Review,
Joensuu 1685,
Pet Shop Boys,
The Moody Blues,
Urselle,
Procol Harum,
Ponytail,
Derrick May,
Janne Schatter,
Banda Bassotti,
John Lydon,
Sarah Menescal,
Average White Band,
Nation of Ulysses,
The Angels of Light,
The Slits,
Electric Prunes,
Pete Rock & C.L. Smooth,
China Crisis,
Niagra,
T.S.O.L.,
Sly & The Family Stone,
Underground Resistance,
Intrusion,
The Index,
Hot Snakes,
Shoche,
Soft Cell,
Wire, Wire, Wire, Wire.
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.