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 Venezuela and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television 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 1960 to 1976.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Shanghai 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 chamberlin 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 Alton Ellis to the rock kids.
I played it at the Troubador.
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 Techniques. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Lucky Dragons 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Victims 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?
Interpol,
Make Up,
Cameo,
Letta Mbulu,
Little Man,
Bang On A Can,
Gong,
Vladislav Delay,
Ronnie Foster,
Howard Jones,
Gabor Szabo,
Duran Duran,
Cabaret Voltaire,
The Buckinghams,
Strawberry Alarm Clock,
Buzzcocks,
Liaisons Dangereuses,
Rhythim Is Rhythim,
Cecil Taylor,
Jerry Gold Smith,
the Human League,
Fluxion,
Vainqueur,
Minor Threat,
Danielle Patucci,
Tommy Roe,
John Holt,
Rhythm & Sound,
One Last Wish,
Amazonics,
Pylon,
Kauko Röyhkä ja Narttu,
Bobby Sherman,
Newcleus,
Zero Boys,
Lalo Schifrin,
Unwound,
Sam Rivers,
Average White Band,
Fugazi,
Rites of Spring,
Oblivians,
Hoover,
Mary Jane Girls,
A Flock of Seagulls,
The Star Department,
Minnie Riperton,
Public Enemy,
Matthew Bourne,
Joe Finger,
Neil Young & Crazy Horse,
Nick Fraelich,
Los Fastidios,
Yaz,
Jesper Dahlback,
Swell Maps,
The Gladiators,
Ralphi Rosario,
Flamin' Groovies,
Ultramagnetic MC's,
China Crisis,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.