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 Korea South and from Stockholm.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Winnipeg.
I'm losing my edge to the art-school Edmonton 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 808 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 ABC 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 Mandrill. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal punk 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Essential Logic,
Pussy Galore,
Deutsch Amerikanische Freundschaft,
Marmalade,
Jesper Dahlback,
Underground Resistance,
Richard Hell and the Voidoids,
The Fuzztones,
The Blackbyrds,
Bobby Byrd,
Siouxsie and the Banshees,
Smog,
the Human League,
Cecil Taylor,
Letta Mbulu,
Rhythm & Sound,
Deakin,
Kool G Rap & DJ Polo,
Bobbi Humphrey,
The Moody Blues,
The Velvet Underground,
The Vogues,
The Wake,
L. Decosne,
John Cale,
Gastr Del Sol,
Altered Images,
Alphaville,
Bob Dylan,
Bang on a Can All-Stars,
The Cure,
Bronski Beat,
Porter Ricks,
Grey Daturas,
DJ Style,
Wings,
the Association,
Man Parrish,
Crash Course in Science,
Red Lorry Yellow Lorry,
Rufus Thomas,
Radiopuhelimet,
the Soft Cell,
Drexciya,
John Lydon,
Mandrill,
Sister Nancy,
Eric Copeland,
Althea and Donna,
Art Ensemble Of Chicago,
The Flesh Eaters,
Adolescents,
Scott Walker + Sunn O))),
K-Klass,
Leonard Cohen,
The West Coast Pop Art Experimental Band,
London Community Gospel Choir,
Anakelly,
the Sonics,
Morten Harket,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.