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 Sudan and from Philadelphia.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Delhi.
I'm losing my edge to the art-school Delhi 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 James Chance & The Contortions to the grunge kids.
I played it at the Roxy.
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 Ultimate Spinach. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Isaac Hayes 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Q and Not U,
Sugar Minott,
Harpers Bizarre,
Major Organ And The Adding Machine,
Terry Callier,
Cabaret Voltaire,
Barclay James Harvest,
London Community Gospel Choir,
Gregory Isaacs,
The Five Americans,
Dr. Dre and Snoop Doggy Dog,
Amazonics,
The Royal Family And The Poor,
Brand Nubian,
The Human League,
Oblivians,
Traffic Nightmare,
The Standells,
Eddi Front,
Desert Stars,
Nico,
Rekid,
The Pretty Things,
Chris Corsano,
Wighnomy Brothers & Robag Wruhme,
The Skatalites,
Fluxion,
Tomorrow,
Kurtis Blow,
Tres Demented,
Nirvana,
Spoonie Gee,
Average White Band,
Japan,
June Days,
Sarah Menescal,
Leonard Cohen,
Marcia Griffiths,
The Misunderstood,
Jacques Brel,
John Coltrane,
Hot Snakes,
The Litter,
Fatback Band,
Oppenheimer Analysis,
Flamin' Groovies,
Thompson Twins,
Grey Daturas,
Josef K,
Masters at Work,
Bang on a Can All-Stars,
Patti Smith,
Inner City,
The Sound,
Jeru the Damaja,
The Black Dice,
Motorama,
48th St. Collective,
Bootsy's Rubber Band,
Delon & Dalcan,
Strawberry Alarm Clock,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.