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 Slovenia and from Philadelphia.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Bologna 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 theremin 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 Nik Kershaw to the rock kids.
I played it at the Crocodile.
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 Pantaleimon. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Black Flag 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Harry Pussy,
The Fire Engines,
Scan 7,
A Certain Ratio,
U.S. Maple,
Second Layer,
Pole,
Dave Gahan,
Camron Feat. Memphis Bleek And Beenie Seigel,
Barrington Levy,
Quantec,
Sister Nancy,
Eric B and Rakim,
Byron Stingily,
The Walker Brothers,
Boogie Down Productions,
Groovy Waters,
Ralphi Rosario,
Shuggie Otis,
Bobby Womack,
Terrestrial Tones,
Tres Demented,
Rosa Yemen,
Bobbi Humphrey,
the Swans,
Scion,
Underground Resistance,
Whodini,
De La Soul & Jungle Brothers,
Gil Scott-Heron & Brian Jackson,
Skaos,
Andrew Ashong & Theo Parrish,
Erykah Badu,
Blancmange,
MC5,
Big Daddy Kane,
Rod Modell,
Justin Hinds & The Dominoes,
The Doors,
The Blackbyrds,
Fluxion,
Sonic Youth,
Dead Boys,
Spoonie Gee,
Donald Byrd,
Icehouse,
Matthew Halsall,
Au Pairs,
Dawn Penn,
Archie Shepp,
Lou Christie,
Tim Buckley,
The Men They Couldn't Hang,
Fad Gadget,
T.S.O.L.,
48th St. Collective,
The Electric Prunes,
Electric Prunes,
Mr. Review,
The Five Americans,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.