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 Benin and from Paris.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Portland and Manchester.
I'm losing my edge to the art-school Woodstock 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 marimba 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 Janne Schatter to the dance kids.
I played it at the 40 Watt.
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 Association. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Wally Richardson 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 a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Bush Tetras,
The Busters,
The Men They Couldn't Hang,
Arcadia,
Cheater Slicks,
Brass Construction,
Judy Mowatt,
Livin' Joy,
Black Flag,
Tears for Fears,
Symarip,
Peter & Gordon,
Captain Beefheart & His Magic Band,
Whodini,
Charles Mingus,
Peter and Kerry,
CMW,
48th St. Collective,
Surgeon,
Severed Heads,
The Count Five,
Liaisons Dangereuses,
Avey Tare's Slasher Flicks,
Television Personalities,
Amazonics,
EPMD,
Major Organ And The Adding Machine,
Young Marble Giants,
Cymande,
Procol Harum,
Angels of Light & Akron/Family,
Fugazi,
Hoover,
The American Breed,
Barrington Levy,
Khruangbin,
Dawn Penn,
Soft Machine,
Andrew Ashong & Theo Parrish,
Bootsy Collins,
The Last Poets,
Don Cherry,
Dave Gahan,
Metal Thangz,
Magazine,
The Beau Brummels,
Nik Kershaw,
Brothers Johnson,
Oneida,
Super Lover Cee & Casanova Rud,
The Trojans,
Be Bop Deluxe,
Crispian St. Peters,
Kenny Larkin,
The Sisters of Mercy,
Glambeats Corp.,
Pulsallama,
Faraquet,
Röyhkä ja Rättö ja Lehtisalo,
Joensuu 1685,
Y Pants, Y Pants, Y Pants, Y Pants.
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.