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 Mauritania and from London.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Accra 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 harpsichord 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 Cosmic Jokers to the rap 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 One Last Wish. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Stetsasonic 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
The Doobie Brothers,
Peter and Kerry,
Cybotron,
Hasil Adkins,
Zero Boys,
Sly & The Family Stone,
Qualms,
Thinking Fellers Union Local 282,
Agent Orange,
Inner City,
Moby Grape,
Robert Hood,
Average White Band,
Lou Christie,
Junior Murvin,
The Fortunes,
Kayak,
Dorothy Ashby,
The United States of America,
Sugar Minott,
Procol Harum,
Traffic Nightmare,
Arthur Verocai,
Stetsasonic,
Public Image Ltd.,
Bluetip,
Swans,
The Sound,
Symarip,
Alice Coltrane,
The Dead C,
The Walker Brothers,
Sällskapet,
F. McDonald,
Lou Reed & John Cale,
The New Christs,
48th St. Collective,
The Litter,
MDC,
Lalo Schifrin,
Negative Approach,
Dawn Penn,
The Victims,
Kas Product,
Larry & the Blue Notes,
Unwound,
Audionom,
Rowland S Howard / Lydia Lunch,
Sound Behaviour,
The Red Krayola,
Skriet,
Dual Sessions,
Nick Cave & The Bad Seeds,
Rod Modell,
Popol Vuh,
Nirvana,
The Associates,
Minor Threat,
Boz Scaggs,
Jeff Lynne,
The Dave Clark Five,
UT,
JFA, JFA, JFA, JFA.
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.