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 Solomon Islands and from Edmonton.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Lagos and Delhi.
I'm losing my edge to the art-school Shanghai 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 mellotron 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 Morten Harket to the funk 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 China Crisis. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal disco 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your organ and bought a sitar.
I hear that you and your band have sold your sitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
LL Cool J,
Sam Rivers,
Cybotron,
Quadrant,
Orchestral Manoeuvres in the Dark,
Mary Jane Girls,
The Detroit Cobras,
The Trojans,
Tres Demented,
Tubeway Army,
Flash Fearless,
Alphaville,
The Cosmic Jokers,
Alice Coltrane,
Fluxion,
Guru Guru,
Oneida,
La Düsseldorf,
Easy Going,
the Human League,
Scrapy,
The Mummies,
EPMD,
Swans,
Los Fastidios,
Tears for Fears,
Outsiders,
Althea and Donna,
Alison Limerick,
Dawn Penn,
B.T. Express,
Minny Pops,
Boredoms,
Ultramagnetic MC's,
Major Organ And The Adding Machine,
Robert Hood,
The Cure,
Idris Muhammad,
Peter and Kerry,
T.S.O.L.,
Neil Young & Crazy Horse,
The Durutti Column,
Barrington Levy,
Iggy Pop,
Tommy Roe,
Magazine,
Massinfluence,
The Music Machine,
Graham Central Station,
Cymande,
Sad Lovers and Giants,
AZ,
The Mighty Diamonds,
Lee Hazlewood,
The Invisible,
The Pop Group,
The Selecter,
Rotary Connection,
Captain Beefheart & His Magic Band,
The Smoke,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.