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 Ireland and from Edmonton.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
I'm losing my edge to the art-school Portland 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Kinks to the electroclash 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 L. Decosne. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Country Teasers,
The Flesh Eaters,
Warsaw,
Bill Wells,
Traffic Nightmare,
Pantaleimon,
Roxette,
Wire,
Michelle Simonal,
Dorothy Ashby,
Pete Rock & C.L. Smooth,
Rowland S Howard / Lydia Lunch,
Suburban Knight,
Gang of Four,
The Sound,
Bauhaus,
Godley & Creme,
The Move,
Sunsets and Hearts,
Malaria!,
The Doobie Brothers,
Danielle Patucci,
Sonny Sharrock,
Zapp,
Circle Jerks,
Ituana,
Dawn Penn,
Heaven 17,
Al Stewart,
The Offenders,
Urselle,
The American Breed,
Ohio Players,
Reagan Youth,
Animal Collective,
H. Thieme,
Grauzone,
Kool Moe Dee,
Isaac Hayes,
New Age Steppers,
The Golliwogs,
Angels of Light & Akron/Family,
De La Soul & Jungle Brothers,
The Moleskins,
The Fire Engines,
Main Source,
Aswad,
Bang on a Can All-Stars,
U.S. Maple,
Ultramagnetic MC's,
Mark Hollis,
Q and Not U,
Scrapy,
Ken Boothe,
Scratch Acid,
Black Pus,
Larry & the Blue Notes,
The Star Department,
The Blues Magoos,
Smog,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.