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 Peru and from Salvador.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Sarah Menescal to the electroclash kids.
I played it at the Crocodile.
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 Nick Cave & The Bad Seeds. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Ludus 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Rites of Spring,
Cymande,
The Blues Magoos,
Lee Hazlewood,
Chrome,
Pylon,
Roxy Music,
Heavy D & The Boyz,
Jesper Dahlbäck,
Angry Samoans,
The Smiths,
Isaac Hayes,
Peter & Gordon,
The Seeds,
F. McDonald,
Pet Shop Boys,
Spandau Ballet,
Funkadelic,
The American Breed,
Avey Tare's Slasher Flicks,
Fifty Foot Hose,
CMW,
Jimmy McGriff,
The Slackers,
the Bar-Kays,
Ken Boothe,
Sun Ra Arkestra,
Piero Umiliani,
Tears for Fears,
Gabor Szabo,
Cluster,
Jeru the Damaja,
The Fortunes,
Gerry Rafferty,
Boogie Down Productions,
Louis and Bebe Barron,
Letta Mbulu,
The United States of America,
Mission of Burma,
Barbara Tucker,
Television,
Urselle,
Model 500,
Hardrive,
London Community Gospel Choir,
Tommy Roe,
Robert Hood,
The Golliwogs,
Bang on a Can All-Stars,
Gang Green,
Blancmange,
The New Christs,
Pussy Galore,
Henry Cow,
Black Sheep,
Dave Gahan,
Swans,
The Flesh Eaters,
Dennis Brown,
Gong,
Scion, Scion, Scion, Scion.
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.