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 Palau and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Toronto 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 Country Joe & The Fish to the electroclash 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 The Chocolate Watch Band. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal punk 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a X-101 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?
Monks,
Reagan Youth,
UT,
The Techniques,
Pantytec,
Sun City Girls,
Flipper,
Dual Sessions,
Au Pairs,
The Litter,
Television,
Grandmaster Flash,
The Mummies,
Bang on a Can All-Stars,
Thee Headcoats,
Frankie Knuckles,
Alton Ellis,
Al Stewart,
Leonard Cohen,
Todd Rundgren,
Minnie Riperton,
Bush Tetras,
Gabor Szabo,
Marmalade,
Nico,
Ash Ra Tempel,
Delta 5,
Audionom,
The Velvet Underground,
Amon Düül,
John Coltrane,
The Divine Comedy,
The Move,
Bootsy's Rubber Band,
Japan,
Gastr Del Sol,
Quadrant,
The Music Machine,
Con Funk Shun,
The Skatalites,
One Last Wish,
The Walker Brothers,
Wighnomy Brothers & Robag Wruhme,
Parry Music,
Jerry Gold Smith,
The Durutti Column,
LL Cool J,
Tommy Roe,
ABBA,
Wolf Eyes,
Godley & Creme,
Black Sheep,
Deutsch Amerikanische Freundschaft,
Supertramp,
Niagra,
Los Fastidios,
Lebanon Hanover,
Depeche Mode,
Lightning Bolt,
Terrestrial Tones,
The Doobie Brothers,
Chris Corsano,
Tim Buckley,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.