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 Lille.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 Paris and Calgary.
I'm losing my edge to the art-school New York 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Orchestral Manoeuvres in the Dark to the electroclash 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 Half Japanese. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal rock 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
Boredoms,
The Invisible,
The Motions,
The New Christs,
Kas Product,
Terrestrial Tones,
Roy Ayers,
Eric Copeland,
Cabaret Voltaire,
Fugazi,
Eyeless In Gaza,
The Smoke,
The Music Machine,
Banda Bassotti,
Todd Rundgren,
Section 25,
Roxette,
The Velvet Underground,
Mr. Review,
Sound Behaviour,
Tim Buckley,
The Gories,
Niagra,
Freddie Wadling,
The Doobie Brothers,
Pete Rock & C.L. Smooth,
Von Mondo,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Half Japanese,
Young Marble Giants,
Bad Manners,
Hoover,
Jimmy McGriff,
U.S. Maple,
8 Eyed Spy,
The Happenings,
the Human League,
Tom Boy,
Grey Daturas,
Piero Umiliani,
Nirvana,
Royal Trux,
T.S.O.L.,
Rotary Connection,
Delon & Dalcan,
Sunsets and Hearts,
Marc Almond,
A Certain Ratio,
Icehouse,
Idris Muhammad,
Mission of Burma,
Grandmaster Flash and the Furious Five,
Suburban Knight,
Yaz,
La Düsseldorf,
It's A Beautiful Day,
Cal Tjader,
Throbbing Gristle,
Oppenheimer Analysis,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.