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 Korea North and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in Spokane and London.
I'm losing my edge to the art-school Calgary 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Rekid to the grime kids.
I played it at the Astoria.
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 Be Bop Deluxe. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Soft Machine 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
kango's stein massive,
The Red Krayola,
Peter and Kerry,
The Motions,
Joe Smooth,
Peter & Gordon,
T. Rex,
Dual Sessions,
A Flock of Seagulls,
Curtis Mayfield,
Aswad,
Shoche,
Barbara Tucker,
Jeff Mills,
Country Teasers,
Au Pairs,
The Buckinghams,
Electric Light Orchestra,
Pantaleimon,
Kerrie Biddell,
Blancmange,
Panda Bear,
Aaron Thompson,
Faraquet,
Ossler,
Half Japanese,
Spandau Ballet,
48th St. Collective,
Dead Boys,
Prince Buster,
Boz Scaggs,
The Fortunes,
Fugazi,
Slick Rick,
Liaisons Dangereuses,
Scan 7,
Fad Gadget,
The Misunderstood,
Black Moon,
Soul Sonic Force,
Minutemen,
New York Dolls,
The Skatalites,
Zapp,
The Beau Brummels,
Mars,
Lakeside,
Funky Four + One,
Pole,
Marshall Jefferson,
Suburban Knight,
Sixth Finger,
Pere Ubu,
Ralphi Rosario,
Ornette Coleman,
Pete Rock & C.L. Smooth,
Minor Threat,
The Walker Brothers,
Ronan,
Sun Ra,
Ohio Players,
the Human League,
Harpers Bizarre,
Adolescents, Adolescents, Adolescents, Adolescents.
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.