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 Turkey and from Johannesburg.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Copenhagen.
I'm losing my edge to the art-school Paris 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 rhodes sounds with much patience.
I was there when Lou Reed 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 The Gap Band to the punk kids.
I played it at the Roxy.
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 Avey Tare. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Arab on Radar 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 '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Qualms,
Marcia Griffiths,
Panda Bear,
Parry Music,
Camouflage,
Banda Bassotti,
The Vogues,
Icehouse,
The Beau Brummels,
Jawbox,
Be Bop Deluxe,
Circle Jerks,
Roy Ayers Ubiquity,
Lyres,
Deutsch Amerikanische Freundschaft,
The Grass Roots,
Ossler,
Nick Fraelich,
Rhythm & Sound,
48th St. Collective,
The Invisible,
The Peanut Butter Conspiracy,
Can,
Thee Headcoats,
Jimmy McGriff,
Bronski Beat,
the Normal,
Oppenheimer Analysis,
Matthew Bourne,
Youth Brigade,
Kayak,
The Wake,
Rod Modell,
Curtis Mayfield,
Whodini,
The Smiths,
Joey Negro,
Marvin Gaye,
L. Decosne,
Bluetip,
James White and The Blacks,
Minor Threat,
Sun Ra Arkestra,
U.S. Maple,
Darondo,
Lucky Dragons,
Maleditus Sound,
Unwound,
The Move,
Harmonia,
Terrestrial Tones,
Graham Central Station,
Spandau Ballet,
Livin' Joy,
Sällskapet,
Godley & Creme,
Intrusion,
The United States of America,
Cybotron,
Masters at Work,
Nico,
The Dead C, The Dead C, The Dead C, The Dead C.
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.