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 Afghanistan and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television 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 1964 to 1974.
I'm losing my edge.
To all the kids in Cairo and Houston.
I'm losing my edge to the art-school Salvador 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 arpeggiator 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 Blancmange to the funk 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 Excepter. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Wasted Youth record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Eurythmics,
Toni Rubio,
Public Image Ltd.,
Gabor Szabo,
Depeche Mode,
Mark Hollis,
Drive Like Jehu,
Colin Newman,
Avey Tare's Slasher Flicks,
Selector Dub Narcotic,
Black Bananas,
Morten Harket,
The Standells,
Chris Corsano,
Liaisons Dangereuses,
Bobby Hutcherson,
The Misunderstood,
Sun City Girls,
The Mighty Diamonds,
Orchestral Manoeuvres in the Dark,
Tom Boy,
Josef K,
D'Angelo,
Animal Collective,
The Sound,
Camouflage,
Rufus Thomas,
Jeff Lynne,
Rahsaan Roland Kirk,
Fatback Band,
Camberwell Now,
Bush Tetras,
Faraquet,
The Angels of Light,
Traffic Nightmare,
Al Stewart,
Ituana,
Country Joe & The Fish,
Kings Of Tomorrow,
Yellowson,
The Associates,
the Bar-Kays,
Popol Vuh,
Ultravox,
Vladislav Delay,
Strawberry Alarm Clock,
Fear,
The Selecter,
Siouxsie and the Banshees,
The Red Krayola,
Lou Christie,
Mandrill,
Ultimate Spinach,
Albert Ayler,
Bobby Womack,
In Retrospect,
Unwound,
Eddi Front,
Joey Negro,
The Offenders,
Peter and Kerry,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.