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 Cyprus and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 David Bowie to the electroclash 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 Marcia Griffiths. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
The Blues Magoos,
Patti Smith,
Cabaret Voltaire,
Sun City Girls,
Joe Smooth,
Q and Not U,
The Tremeloes,
Barry Ungar,
Arthur Verocai,
Art Ensemble Of Chicago,
Tubeway Army,
Suicide,
Zapp,
Parry Music,
Rapeman,
Captain Beefheart & His Magic Band,
Connie Case,
Alton Ellis,
Louis and Bebe Barron,
Tears for Fears,
Flamin' Groovies,
Bauhaus,
Model 500,
Thinking Fellers Union Local 282,
Gang of Four,
Cluster,
Reagan Youth,
Pharaoh Sanders and the Fire Engines,
Monolake,
Dawn Penn,
Teenage Jesus and the Jerks,
Monks,
Scott Walker + Sunn O))),
Mark Hollis,
Lou Christie,
Bobby Byrd,
Erykah Badu,
Delon & Dalcan,
Qualms,
The Real Kids,
Roxette,
Godley & Creme,
The Stooges,
Davy DMX,
Vainqueur,
Ludus,
Bang on a Can All-Stars,
Derrick May,
Brass Construction,
The Sisters of Mercy,
The West Coast Pop Art Experimental Band,
Tim Buckley,
Soft Cell,
Juan Atkins,
Clear Light,
PIL,
a-ha,
Pete Rock & C.L. Smooth,
Pantytec,
The Seeds, The Seeds, The Seeds, The Seeds.
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.