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 Bhutan and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Milan and Halifax.
I'm losing my edge to the art-school Winnipeg 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 organ sounds with much patience.
I was there when Robert Palmer 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 Smog to the electroclash 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 Marcia Griffiths. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal funk 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 a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
the Association,
The United States of America,
Colin Newman,
Grandmaster Flash and the Furious Five,
Soul Sonic Force,
Dark Day,
The Jesus and Mary Chain,
Rhythm & Sound,
Arcadia,
Wally Richardson,
Tears for Fears,
Masters at Work,
Ice-T,
The Detroit Cobras,
Procol Harum,
The American Breed,
AZ,
Röyhkä ja Rättö ja Lehtisalo,
Ronnie Foster,
The Count Five,
Rahsaan Roland Kirk,
Minny Pops,
Swans,
The Index,
The Red Krayola,
Heavy D & The Boyz,
Sex Pistols,
Harpers Bizarre,
Marc Romboy vs. Booka Shade,
Scrapy,
Dennis Brown,
Fugazi,
Eric Dolphy,
Duran Duran,
Flash Fearless,
Lee Hazlewood,
Oneida,
Marvin Gaye,
Throbbing Gristle,
Tim Buckley,
Roxette,
Eli Mardock,
The Doobie Brothers,
Strawberry Alarm Clock,
Severed Heads,
Sonic Youth,
Sly & The Family Stone,
Sun Ra,
Eyeless In Gaza,
Pussy Galore,
Selector Dub Narcotic,
The Birthday Party,
Joey Negro,
Kurtis Blow,
Fat Boys,
Zero Boys,
Stiv Bators,
Red Lorry Yellow Lorry,
June Days,
Nas, Nas, Nas, Nas.
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.