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 Qatar and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Bologna and Bologna.
I'm losing my edge to the art-school Spokane 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 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 Avey Tare's Slasher Flicks to the disco kids.
I played it at Trash.
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 Theoretical Girls. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Captain Beefheart & His Magic Band,
Lyres,
John Cale,
Chris & Cosey,
Art Ensemble Of Chicago,
Rotary Connection,
a-ha,
Brothers Johnson,
Alton Ellis,
Ituana,
Deepchord,
Silicon Teens,
Eyeless In Gaza,
Pagans,
Donald Byrd,
Gang Green,
Ajijia Myrayebe,
Circle Jerks,
Grey Daturas,
Hot Snakes,
The Pretty Things,
Camouflage,
Franke,
Nico,
Oneida,
the Soft Cell,
Hoover,
The Star Department,
Stiv Bators,
Royal Trux,
Rowland S Howard / Lydia Lunch,
Juan Atkins,
The Barracudas,
The Durutti Column,
The Real Kids,
Eddi Front,
Brass Construction,
Radiopuhelimet,
The Invisible,
Porter Ricks,
Camberwell Now,
The Dead C,
Ossler,
Funky Four + One,
Lizzy Mercier Descloux,
Absolute Body Control,
Danielle Patucci,
The Gun Club,
Monolake,
New York Dolls,
Chrome,
The West Coast Pop Art Experimental Band,
Bootsy Collins,
The Cowsills,
Public Image Ltd.,
Au Pairs,
Fela Kuti,
The Leaves,
Malaria!,
Sandy B,
Kayak,
Black Sheep,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.