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 Andorra and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Taipei and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 808 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 Avey Tare to the punk 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 Gian Franco Pienzio. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Deutsch Amerikanische Freundschaft,
Lou Reed & Metallica,
the Human League,
The Invisible,
The Blues Magoos,
The Busters,
Anthony Braxton,
Negative Approach,
James White and The Blacks,
Mission of Burma,
Suicide,
It's A Beautiful Day,
Eden Ahbez,
Orchestral Manoeuvres in the Dark,
Essential Logic,
Interpol,
Rowland S Howard / Lydia Lunch,
Camberwell Now,
Lungfish,
Television,
Kevin Saunderson,
Desert Stars,
Unwound,
10cc,
Jeff Mills,
Urselle,
Bobby Hutcherson,
Vainqueur,
The Divine Comedy,
Nik Kershaw,
DJ Sneak,
The Smoke,
Kurtis Blow,
Man Eating Sloth,
Angels of Light & Akron/Family,
James Chance & The Contortions,
Section 25,
Jeru the Damaja,
Sun City Girls,
Marmalade,
Crime,
The Wake,
Avey Tare's Slasher Flicks,
The Toasters,
Johnny Clarke,
Vaughan Mason & Crew,
Massinfluence,
Electric Light Orchestra,
Marc Romboy vs. Booka Shade,
the Soft Cell,
Reuben Wilson,
Black Flag,
Junior Murvin,
X-Ray Spex,
Japan,
Selector Dub Narcotic,
Bob Dylan,
The Mojo Men,
Eurythmics,
the Fania All-Stars,
Groovy Waters,
Subhumans,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.