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 Burkina and from Houston.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1978.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Accra 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 Eric Copeland to the disco kids.
I played it at Cafe Wha.
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 The New Christs. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Byron Stingily 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 '90s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Nico,
Schoolly D,
Roger Hodgson,
Ponytail,
ABBA,
Derrick May,
Joyce Sims,
Ash Ra Tempel,
Sad Lovers and Giants,
the Soft Cell,
Joe Finger,
Iggy Pop,
Isaac Hayes,
World's Most,
It's A Beautiful Day,
Lou Christie,
Scratch Acid,
Tim Buckley,
Average White Band,
New Age Steppers,
Country Joe & The Fish,
Rapeman,
A Flock of Seagulls,
Massinfluence,
Basic Channel,
Al Stewart,
the Association,
The Music Machine,
Röyhkä ja Rättö ja Lehtisalo,
the Germs,
Popol Vuh,
Judy Mowatt,
Babytalk,
Ohio Players,
Glambeats Corp.,
Altered Images,
Stiv Bators,
The Birthday Party,
Model 500,
Unrelated Segments,
Mantronix,
Pantaleimon,
Ituana,
Section 25,
Oblivians,
Harmonia,
The Fuzztones,
CMW,
Moss Icon,
Grandmaster Flash,
The Misunderstood,
Liliput,
Reagan Youth,
Little Man,
Eric B and Rakim,
Vainqueur,
Ken Boothe,
Thinking Fellers Union Local 282,
Wasted Youth,
Theoretical Girls,
Nation of Ulysses,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.