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 Guinea-Bissau and from London.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1973.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Taipei 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 chamberlin 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 The Martian to the disco kids.
I played it at the Hacienda.
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 Fire Engines. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Gabor Szabo,
Hoover,
Byron Stingily,
Rekid,
Country Teasers,
Lou Reed & John Cale,
Metal Thangz,
Sun City Girls,
Interpol,
The American Breed,
Danielle Patucci,
Wire,
The Modern Lovers,
F. McDonald,
R.M.O.,
Eric Copeland,
Notorious BIG live in Amsterdam,
The Index,
Vainqueur,
Charles Mingus,
Donny Hathaway,
Joey Negro,
Goldenarms,
Jesper Dahlbäck,
Tears for Fears,
DJ Sneak,
Gang Green,
Flamin' Groovies,
Gil Scott Heron,
Bobby Sherman,
Model 500,
Sarah Menescal,
the Bar-Kays,
Pantaleimon,
Lakeside,
Boogie Down Productions,
Gian Franco Pienzio,
Andrew Hill,
The Mojo Men,
Yellowson,
Underground Resistance,
Ludus,
The Victims,
Gang of Four,
Soul II Soul,
The Kinks,
Niagra,
T. Rex,
Chrome,
Faraquet,
The Invisible,
Gerry Rafferty,
Peter and Kerry,
Bobby Womack,
Rosa Yemen,
Michelle Simonal,
Drive Like Jehu,
Pagans,
Lalann,
Warsaw,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.