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 Nauru and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Houston 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 The United States of America to the disco 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 Pierre Henry. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Sun Ra Arkestra 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
The Fortunes,
Gian Franco Pienzio,
L. Decosne,
Eli Mardock,
Mars,
Crash Course in Science,
Massinfluence,
Bootsy's Rubber Band,
The Kinks,
Jesper Dahlback,
Stereo Dub,
Section 25,
Kenny Larkin,
The Standells,
Gong,
Mission of Burma,
Bobby Sherman,
Scrapy,
Spandau Ballet,
Roxy Music,
10cc,
The Buckinghams,
Supertramp,
Hot Snakes,
DNA,
Kerrie Biddell,
Inner City,
Sun Ra Arkestra,
Albert Ayler,
World's Most,
Agitation Free,
OOIOO,
Wings,
Terror Squad Feat. Camron,
Black Pus,
The Flesh Eaters,
Dennis Brown,
The Gun Club,
New Age Steppers,
Morten Harket,
Ultramagnetic MC's,
Super Lover Cee & Casanova Rud,
The Martian,
Dual Sessions,
Notorious BIG live in Amsterdam,
Bill Near,
Jerry Gold Smith,
Tres Demented,
Motorama,
Agent Orange,
Blake Baxter,
EPMD,
Drexciya,
Marine Girls,
The Shadows of Knight,
Sexual Harrassment,
Arthur Verocai,
Country Teasers,
Joy Division, Joy Division, Joy Division, Joy Division.
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.