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 Congo and from Salvador.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1978.
I'm losing my edge.
To all the kids in Bologna and Taipei.
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 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 The Litter to the jazz 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 Fluxion. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Toni Rubio record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Rakim,
Peter and Kerry,
Basic Channel,
Rahsaan Roland Kirk,
Skarface,
Gabor Szabo,
The Mighty Diamonds,
Harry Pussy,
The Birthday Party,
Visage,
Sparks,
These Immortal Souls,
Spandau Ballet,
Banda Bassotti,
The Moody Blues,
Donald Byrd,
Eric Copeland,
Laurel Aitken,
Khruangbin,
Bizarre Inc.,
The Invisible,
Lou Christie,
Anakelly,
Howard Jones,
Hashim,
Nation of Ulysses,
James Chance & The Contortions,
Major Organ And The Adding Machine,
Moebius,
Porter Ricks,
U.S. Maple,
a-ha,
A Flock of Seagulls,
New Age Steppers,
Sound Behaviour,
Duran Duran,
Freddie Wadling,
Röyhkä ja Rättö ja Lehtisalo,
Sun City Girls,
Man Eating Sloth,
the Normal,
The Move,
The Royal Family And The Poor,
Carl Craig,
The Mojo Men,
Pharaoh Sanders and the Fire Engines,
The Flesh Eaters,
Red Lorry Yellow Lorry,
David Bowie,
The Sonics,
The Cramps,
Drexciya,
The Blackbyrds,
The Trojans,
Scientists,
The Human League,
Danielle Patucci,
Derrick May,
the Bar-Kays,
Henry Cow,
Oneida,
Glambeats Corp.,
Angels of Light & Akron/Family,
China Crisis, China Crisis, China Crisis, China Crisis.
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.