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 Cameroon and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 Portland and Taipei.
I'm losing my edge to the art-school Mumbai 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 theremin 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 Sly & The Family Stone to the rap 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 Byron Stingily. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Fluxion record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Metal Thangz 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?
Ludus,
Ultramagnetic MC's,
Colin Newman,
Lebanon Hanover,
The Cramps,
Stetsasonic,
The Martian,
Dual Sessions,
X-101,
James White and The Blacks,
Deutsch Amerikanische Freundschaft,
Wings,
The Fortunes,
Ten City,
Surgeon,
Black Flag,
FM Einheit,
Grauzone,
Sun Ra,
Al Stewart,
Pantytec,
John Foxx,
The Buckinghams,
T.S.O.L.,
Tommy Roe,
The Motions,
The Shadows of Knight,
the Soft Cell,
Audionom,
Camouflage,
Nils Olav,
Saccharine Trust,
The Slackers,
Tim Buckley,
Traffic Nightmare,
Public Enemy,
MC5,
The Black Dice,
Gil Scott-Heron and Jamie xx,
Mantronix,
Crispian St. Peters,
Sister Nancy,
Robert Görl,
Television,
Marvin Gaye,
Lee Hazlewood,
The Moleskins,
Andrew Hill,
Intrusion,
De La Soul & Jungle Brothers,
Mars,
Thinking Fellers Union Local 282,
Bobby Byrd,
Scrapy,
Marmalade,
Robert Hood,
The Golliwogs,
Kool G Rap & DJ Polo,
Mark Hollis,
Spandau Ballet,
the Normal,
Ice-T,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.