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 South Africa and from Tehran.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Manchester and Delhi.
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 at the first Suicide practice in a loft in New York.
I was working on the marimba 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 Men They Couldn't Hang to the techno kids.
I played it at the Spitz.
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 Lightning Bolt. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
The Invisible,
Lou Reed & John Cale,
Alton Ellis,
Rekid,
Matthew Halsall,
Severed Heads,
Pole,
Spoonie Gee,
Dead Boys,
Maurizio,
48th St. Collective,
Bob Dylan,
Ohio Players,
The Knickerbockers,
Alison Limerick,
The Peanut Butter Conspiracy,
Peter Gordon & Love of Life Orchestra,
Todd Rundgren,
The Fugs,
Negative Approach,
Eric B and Rakim,
Black Pus,
Gregory Isaacs,
The Skatalites,
Kings Of Tomorrow,
Reuben Wilson,
Curtis Mayfield,
Jawbox,
Mandrill,
DNA,
David Bowie,
Ludus,
The West Coast Pop Art Experimental Band,
Skarface,
Quantec,
DJ Style,
The Angels of Light,
Nas,
the Swans,
Jacob Miller,
John Lydon,
Nirvana,
Bang on a Can All-Stars,
The Associates,
Pussy Galore,
Sandy B,
Arcadia,
Moby Grape,
Pulsallama,
Talk Talk,
John Cale,
Boredoms,
Pet Shop Boys,
Minny Pops,
Intrusion,
This Heat,
Glambeats Corp.,
Minor Threat,
Y Pants,
Magazine,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.