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 Montenegro and from Bremen.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 oboe 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 Scion to the disco 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 Faraquet. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Kas Product 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 '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Eddi Front,
Harmonia,
Bizarre Inc.,
Con Funk Shun,
Minny Pops,
Donald Byrd,
Crime,
New Age Steppers,
The Black Dice,
Rufus Thomas,
Swell Maps,
The Human League,
Inner City,
Marcia Griffiths,
Derrick Morgan,
Moby Grape,
Dark Day,
Oneida,
The Names,
Thompson Twins,
Flash Fearless,
Erasure,
Man Eating Sloth,
Art Ensemble Of Chicago,
Deadbeat,
Super Lover Cee & Casanova Rud,
A Flock of Seagulls,
Brand Nubian,
Kerri Chandler,
Oppenheimer Analysis,
The Associates,
AZ,
Monolake,
Godley & Creme,
Echo & the Bunnymen,
The Men They Couldn't Hang,
Visage,
Susan Cadogan,
Supertramp,
Röyhkä ja Rättö ja Lehtisalo,
Matthew Bourne,
Sugar Minott,
Porter Ricks,
Graham Central Station,
The Trojans,
Bush Tetras,
Boogie Down Productions,
Pantaleimon,
The Move,
Justin Hinds & The Dominoes,
Dawn Penn,
Easy Going,
Rites of Spring,
Marvin Gaye,
Masters at Work,
Sixth Finger,
X-Ray Spex,
Neil Young,
Roy Ayers,
the Slits,
Dorothy Ashby,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.