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 Bulgaria and from Philadelphia.
But I was there.
I was there in .
I was there at the first Suicide 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 1968 to 1979.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
I'm losing my edge to the art-school Spokane 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 Agent Orange to the jazz 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 Martian. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Eric B and Rakim,
The Sonics,
Skarface,
Pere Ubu,
Gregory Isaacs,
Hashim,
Zero Boys,
Moby Grape,
The Divine Comedy,
Bang On A Can,
The Dirtbombs,
Nation of Ulysses,
Stetsasonic,
Louis and Bebe Barron,
John Coltrane,
Don Cherry,
Drive Like Jehu,
The Moleskins,
Lyres,
Depeche Mode,
Sparks,
Gang of Four,
John Holt,
Camberwell Now,
World's Most,
Monolake,
The Birthday Party,
the Bar-Kays,
The Victims,
Black Moon,
The Evens,
Bootsy's Rubber Band,
Wally Richardson,
Black Flag,
Joyce Sims,
Soul Sonic Force,
Angels of Light & Akron/Family,
Cluster,
Spoonie Gee,
Cameo,
The Gun Club,
The Fire Engines,
Circle Jerks,
Fort Wilson Riot,
Scion,
Y Pants,
Clear Light,
Sandy B,
PIL,
Lucky Dragons,
Dennis Brown,
MC5,
Josef K,
Average White Band,
Minor Threat,
Parry Music,
The Chocolate Watch Band,
The Alarm Clocks,
Justin Hinds & The Dominoes,
Gerry Rafferty,
Throbbing Gristle,
Rekid,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.