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 Chile and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 snare 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 The United States of America to the grime 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 Faraquet. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Man Parrish 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a theremin 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 arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Todd Rundgren,
Pharoah Sanders,
Grandmaster Flash,
The Offenders,
Masters at Work,
Von Mondo,
The Motions,
Anakelly,
Pet Shop Boys,
Massinfluence,
Make Up,
Scrapy,
The Dave Clark Five,
the Bar-Kays,
The Music Machine,
Accadde A,
Marc Romboy vs. Booka Shade,
10cc,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tomorrow,
Electric Prunes,
Wighnomy Brothers & Robag Wruhme,
Lower 48,
Rekid,
Lalann,
This Heat,
Lightning Bolt,
Mary Jane Girls,
Bobby Hutcherson,
Spandau Ballet,
Kenny Larkin,
Erasure,
Aaron Thompson,
One Last Wish,
The Wake,
48th St. Collective,
Stiv Bators,
John Lydon,
ABBA,
Sister Nancy,
Newcleus,
Jacques Brel,
Sex Pistols,
Camberwell Now,
Oneida,
The Kinks,
Little Man,
Agent Orange,
DJ Style,
Procol Harum,
Los Fastidios,
Don Cherry,
The Trojans,
Rhythm & Sound,
Whodini,
Black Moon,
Yellowson,
Visage,
Moss Icon,
Kauko Röyhkä ja Narttu,
Darondo,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.