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 Ethiopia and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Bremen 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 clarinet 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 Beau Brummels to the jazz kids.
I played it at Trash.
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 London Community Gospel Choir. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every The Fire Engines 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 '80s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
The Smiths,
The Flesh Eaters,
Sad Lovers and Giants,
Dorothy Ashby,
Guru Guru,
Sixth Finger,
Bizarre Inc.,
Intrusion,
The Smoke,
Gastr Del Sol,
the Normal,
Althea and Donna,
Glenn Branca,
Grandmaster Flash and the Furious Five,
Marc Almond,
Pagans,
Bobby Sherman,
Skriet,
Zapp,
Camron Feat. Jay Z And Juelz,
Heavy D & The Boyz,
Mo-Dettes,
Terry Callier,
Television Personalities,
Derrick May,
Girls At Our Best!,
The Toasters,
Scott Walker,
a-ha,
Echo & the Bunnymen,
D'Angelo,
Pole,
The Black Dice,
Sandy B,
Idris Muhammad,
Marine Girls,
Graham Central Station,
Sun Ra,
Depeche Mode,
Motorama,
Main Source,
Flash Fearless,
Fatback Band,
the Fania All-Stars,
Darondo,
The Mummies,
Symarip,
John Holt,
Tubeway Army,
Crispy Ambulance,
Nation of Ulysses,
Kevin Saunderson,
Subhumans,
The Standells,
The Gladiators,
Piero Umiliani,
Whodini,
Magma,
Dawn Penn,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.