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 Madagascar and from Milan.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Cairo 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 clarinet 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 Severed Heads to the punk 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 The Mummies. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Byron Stingily,
X-101,
The Sisters of Mercy,
Jesper Dahlback,
The Seeds,
Morten Harket,
Das Ding,
Pulsallama,
The Dead C,
R.M.O.,
Bill Near,
Metal Thangz,
One Last Wish,
Larry & the Blue Notes,
Kauko Röyhkä ja Narttu,
Red Lorry Yellow Lorry,
Magazine,
The Pop Group,
The Leaves,
Half Japanese,
Jeff Mills,
Rakim,
Jeff Lynne,
PIL,
Mr. Review,
Joey Negro,
Crispian St. Peters,
Judy Mowatt,
Max Romeo,
Nico,
Essential Logic,
10cc,
Boogie Down Productions,
Tim Buckley,
Royal Trux,
Black Pus,
The Smiths,
Accadde A,
The Standells,
David McCallum,
L. Decosne,
Don Cherry,
Blake Baxter,
Lou Christie,
Derrick Morgan,
Deakin,
The J.B.'s,
Rhythm & Sound,
Ten City,
Swans,
Iggy Pop,
Roxette,
Lakeside,
Excepter,
The Men They Couldn't Hang,
Sister Nancy,
La Düsseldorf,
Bobby Sherman,
Gabor Szabo,
Bang on a Can All-Stars,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.