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 Lesotho 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 1960 to 1971.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Taipei 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 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 Marc Almond to the electroclash 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 Interpol. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Joe Smooth 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Cabaret Voltaire,
Kool Moe Dee,
Motorama,
Man Parrish,
The Smiths,
Lightning Bolt,
These Immortal Souls,
A Certain Ratio,
the Swans,
The Monks,
Oppenheimer Analysis,
Gian Franco Pienzio,
Johnny Osbourne,
The New Christs,
Shoche,
Alice Coltrane,
Super Lover Cee & Casanova Rud,
Warren Ellis,
Swans,
Au Pairs,
The Searchers,
Tropical Tobacco,
Erasure,
Archie Shepp,
Sly & The Family Stone,
In Retrospect,
The Red Krayola,
Mary Jane Girls,
Yellowson,
Shuggie Otis,
Soul II Soul,
Colin Newman,
Barry Ungar,
Hardrive,
The Mummies,
Derrick Morgan,
Dual Sessions,
The Alarm Clocks,
Robert Hood,
The Fire Engines,
Jimmy McGriff,
CMW,
the Soft Cell,
Parry Music,
Bronski Beat,
Schoolly D,
Average White Band,
The Seeds,
Fort Wilson Riot,
Siglo XX,
Dave Gahan,
Robert Görl,
The Fuzztones,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bootsy Collins,
Bootsy's Rubber Band,
T.S.O.L.,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.