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 Dominica and from Toronto.
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 1969 to 1974.
I'm losing my edge.
To all the kids in New York and London.
I'm losing my edge to the art-school Milan 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Count Five to the techno kids.
I played it at the Troubador.
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 Sister Nancy. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Johnny Osbourne,
Hot Snakes,
The Martian,
Andrew Hill,
Quantec,
Basic Channel,
Television Personalities,
Notorious BIG live in Amsterdam,
The Jesus and Mary Chain,
Bush Tetras,
Jesper Dahlback,
Davy DMX,
The Star Department,
DNA,
Magazine,
The Pop Group,
The Stooges,
Bob Dylan,
Gil Scott Heron,
Depeche Mode,
Sister Nancy,
Swell Maps,
T.S.O.L.,
James Chance & The Contortions,
Roy Ayers Ubiquity,
Dennis Brown,
Public Image Ltd.,
Flash Fearless,
Moss Icon,
Massinfluence,
Echo & the Bunnymen,
Hoover,
Alton Ellis,
Bluetip,
Bang on a Can All-Stars,
Grandmaster Flash,
The Residents,
Kas Product,
Beasts of Bourbon,
Soft Cell,
Cameo,
K-Klass,
Wolf Eyes,
Gary Puckett & The Union Gap,
Pulsallama,
Rotary Connection,
Grandmaster Flash and the Furious Five,
Junior Murvin,
Lungfish,
Louis and Bebe Barron,
Electric Light Orchestra,
Dave Gahan,
The Chocolate Watch Band,
Brick,
Zero Boys,
Scratch Acid,
Bobby Hutcherson,
Stockholm Monsters,
The Fuzztones,
Kool Moe Dee,
Visage,
Siouxsie and the Banshees,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.