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 Uganda and from Delhi.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar 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 Josef K to the rock kids.
I played it at CBGB's.
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 Alison Limerick. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Half Japanese,
Thinking Fellers Union Local 282,
Nico,
Roger Hodgson,
Deutsch Amerikanische Freundschaft,
Swell Maps,
Dead Boys,
The Knickerbockers,
Delon & Dalcan,
Quando Quango,
Scott Walker,
Avey Tare & Kría Brekkan,
Flipper,
New York Dolls,
Kool Moe Dee,
Crash Course in Science,
AZ,
Röyhkä ja Rättö ja Lehtisalo,
The Fortunes,
The Stooges,
Kool G Rap & DJ Polo,
Warsaw,
Dennis Brown,
James White and The Blacks,
Angels of Light & Akron/Family,
Hot Snakes,
Babytalk,
The Tremeloes,
Stereo Dub,
Aaron Thompson,
Donald Byrd,
Juan Atkins,
Sly & The Family Stone,
Von Mondo,
Godley & Creme,
Unrelated Segments,
PIL,
The Modern Lovers,
Sun Ra,
Al Stewart,
Michelle Simonal,
Harmonia,
Pharaoh Sanders and the Fire Engines,
The Golliwogs,
Henry Cow,
Crime,
Dual Sessions,
Essential Logic,
Grey Daturas,
Tears for Fears,
Make Up,
Sight & Sound,
Harpers Bizarre,
Kurtis Blow,
Accadde A,
Soft Machine,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.