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 Lithuania and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Paris and Spokane.
I'm losing my edge to the art-school Paris 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the spring reverb 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 Rekid to the grime kids.
I played it at the Astoria.
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 Freddie Wadling. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every New York Dolls 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange 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?
Fear,
China Crisis,
Fat Boys,
Symarip,
Neil Young,
Black Sheep,
Rekid,
Pere Ubu,
Rotary Connection,
Arcadia,
Jesper Dahlbäck,
The Sonics,
Urselle,
The Velvet Underground,
The Pop Group,
Gil Scott-Heron & Brian Jackson,
Faraquet,
The Black Dice,
Gang Green,
Oppenheimer Analysis,
KRS-One,
Gichy Dan,
Moby Grape,
Black Moon,
Mo-Dettes,
the Germs,
Sad Lovers and Giants,
The Cowsills,
Eyeless In Gaza,
Derrick Morgan,
LL Cool J,
Harpers Bizarre,
Ajijia Myrayebe,
Slick Rick,
Kerrie Biddell,
Barclay James Harvest,
The Golliwogs,
Subhumans,
H. Thieme,
Main Source,
Siglo XX,
A Flock of Seagulls,
Andrew Hill,
Popol Vuh,
The Doors,
Sexual Harrassment,
U.S. Maple,
Heaven 17,
Gerry Rafferty,
Underground Resistance,
Nils Olav,
Gil Scott Heron,
FM Einheit,
Roxy Music,
Q65,
The Grass Roots,
Quando Quango,
Orchestral Manoeuvres in the Dark,
Mark Hollis,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.