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 Botswana and from Bremen.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Hong Kong.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Juan Atkins to the funk kids.
I played it at the Spitz.
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 Bizarre Inc.. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Eden Ahbez,
Nils Olav,
Chrome,
the Bar-Kays,
Pulsallama,
Qualms,
Fear,
Graham Central Station,
Gil Scott-Heron & Brian Jackson,
Orchestral Manoeuvres in the Dark,
Royal Trux,
Bill Wells,
The J.B.'s,
Harmonia,
DJ Style,
Index,
Kerri Chandler,
New York Dolls,
Dual Sessions,
Ponytail,
Angry Samoans,
Amon Düül,
Spandau Ballet,
Man Eating Sloth,
Ken Boothe,
Ajijia Myrayebe,
The Zeros,
Slick Rick,
Peter & Gordon,
Joe Smooth,
Maleditus Sound,
Liliput,
Selector Dub Narcotic,
Lyres,
The Standells,
MDC,
Kayak,
Inner City,
The Blues Magoos,
The Neon Judgement,
Franke,
Juan Atkins,
Duran Duran,
the Slits,
Davy DMX,
Rod Modell,
the Normal,
Fatback Band,
Minutemen,
Quando Quango,
Darondo,
MC5,
Wally Richardson,
The Peanut Butter Conspiracy,
Marine Girls,
Anakelly,
The Electric Prunes,
Lalo Schifrin,
Country Teasers,
The Cure,
Steve Hackett,
Danielle Patucci,
Mary Jane Girls,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.