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 Philippines and from Winnipeg.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Seoul and Edmonton.
I'm losing my edge to the art-school Edmonton 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Faraquet to the disco kids.
I played it at the Crocodile.
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 10cc. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Circle Jerks 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
The Slits,
Reuben Wilson,
Marmalade,
Stiv Bators,
Susan Cadogan,
The Gun Club,
Bluetip,
Bronski Beat,
Harmonia,
Fatback Band,
The Cramps,
Kayak,
Erasure,
Junior Murvin,
Lee Hazlewood,
Television,
Aloha Tigers,
Tommy Roe,
Alphaville,
The Invisible,
Zero Boys,
Joensuu 1685,
Rhythim Is Rhythim,
The Happenings,
Ornette Coleman,
Subhumans,
B.T. Express,
Bill Near,
Parry Music,
Lucky Dragons,
Buzzcocks,
Lalann,
Barrington Levy,
Bobby Hutcherson,
The Detroit Cobras,
Crooked Eye,
Shoche,
Agent Orange,
Scan 7,
Trumans Water,
Japan,
Rapeman,
Mo-Dettes,
Cheater Slicks,
Dead Boys,
Avey Tare's Slasher Flicks,
LL Cool J,
Adolescents,
The Kinks,
Massinfluence,
Bobby Sherman,
Justin Hinds & The Dominoes,
Roger Hodgson,
Ronnie Foster,
Guru Guru,
Hasil Adkins,
Suicide,
Peter and Kerry,
The Trojans,
Glenn Branca,
Grey Daturas,
Oppenheimer Analysis,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.