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 Angola and from Mumbai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Halifax and Madrid.
I'm losing my edge to the art-school Bremen 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 David Bowie 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 Country Teasers to the techno kids.
I played it at Cafe Wha.
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 Rapeman. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
Derrick May,
The Grass Roots,
Cabaret Voltaire,
James Chance & The Contortions,
The Flesh Eaters,
Tim Buckley,
Black Sheep,
Surgeon,
Reagan Youth,
Kauko Röyhkä ja Narttu,
Warren Ellis,
Kool Moe Dee,
De La Soul & Jungle Brothers,
La Düsseldorf,
L. Decosne,
Eyeless In Gaza,
Arcadia,
Peter & Gordon,
Dawn Penn,
Don Cherry,
Pantytec,
The Electric Prunes,
Flipper,
Dennis Brown,
Justin Hinds & The Dominoes,
John Cale,
Graham Central Station,
Mr. Review,
It's A Beautiful Day,
Inner City,
Stiv Bators,
The Chocolate Watch Band,
Anakelly,
Nation of Ulysses,
Los Fastidios,
Louis and Bebe Barron,
Bobbi Humphrey,
Gong,
Minny Pops,
Intrusion,
Fugazi,
Make Up,
Skarface,
Rowland S Howard / Lydia Lunch,
Rufus Thomas,
Kayak,
Howard Jones,
Lower 48,
Gil Scott Heron,
Electric Light Orchestra,
Wally Richardson,
The American Breed,
Laurel Aitken,
Pharaoh Sanders and the Fire Engines,
a-ha,
Freddie Wadling,
R.M.O.,
The Young Rascals,
Chris Corsano,
Rakim,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.