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 China and from Lagos.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
I'm losing my edge to the art-school Shanghai 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet 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 Piero Umiliani to the jazz kids.
I played it at CBGB's.
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 D'Angelo. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every The Busters 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
The Gap Band,
Ituana,
Glenn Branca,
Morten Harket,
Ash Ra Tempel,
Barry Ungar,
Monks,
X-102,
Thee Headcoats,
The Smoke,
Television,
Jesper Dahlback,
Loose Ends,
Los Fastidios,
The Invisible,
Radio Birdman,
the Bar-Kays,
Jimmy McGriff,
Ultimate Spinach,
Cabaret Voltaire,
Sly & The Family Stone,
Wolf Eyes,
The Five Americans,
Pharaoh Sanders and the Fire Engines,
Aural Exciters,
London Community Gospel Choir,
Hashim,
Strawberry Alarm Clock,
Radiopuhelimet,
Ossler,
DNA,
DJ Sneak,
Joy Division,
Kool Moe Dee,
Johnny Osbourne,
Al Stewart,
Rod Modell,
Camron Feat. Jay Z And Juelz,
Main Source,
The Music Machine,
The Velvet Underground,
Tom Boy,
Vainqueur,
Todd Rundgren,
Make Up,
Minny Pops,
Cymande,
Robert Wyatt,
One Last Wish,
T.S.O.L.,
The Slits,
Barbara Tucker,
The Fall,
Ronnie Foster,
The Flesh Eaters,
Spandau Ballet,
Peter & Gordon,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.