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 Korea North and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide 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 New York and Bologna.
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 rhodes sounds with much patience.
I was there when Lou Reed 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 Heavy D & The Boyz to the grime 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 Deakin. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
The West Coast Pop Art Experimental Band,
The Fugs,
Roy Ayers,
Nico,
Gary Puckett & The Union Gap,
Sällskapet,
Gichy Dan,
Underground Resistance,
Lonnie Liston Smith,
Kenny Larkin,
Metal Thangz,
Stockholm Monsters,
Mary Jane Girls,
Danielle Patucci,
Eden Ahbez,
Half Japanese,
Dr. Dre and Snoop Doggy Dog,
Jerry's Kids,
Fatback Band,
Kool Moe Dee,
Visage,
48th St. Collective,
Talk Talk,
Gil Scott-Heron & Brian Jackson,
Ronnie Foster,
Fort Wilson Riot,
Swell Maps,
The Seeds,
T.S.O.L.,
Heaven 17,
Davy DMX,
the Sonics,
Cabaret Voltaire,
Sunsets and Hearts,
Faraquet,
Unwound,
A Flock of Seagulls,
Kool G Rap & DJ Polo,
Procol Harum,
Anthony Braxton,
Quadrant,
X-Ray Spex,
Ken Boothe,
The Star Department,
The Wake,
Rahsaan Roland Kirk,
Urselle,
Groovy Waters,
Nation of Ulysses,
Be Bop Deluxe,
Beasts of Bourbon,
Bobby Sherman,
The Alarm Clocks,
Dual Sessions,
Das Ding,
Deakin,
Scrapy,
Faust,
Grandmaster Flash,
Dave Gahan,
the Soft Cell,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.