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 Pakistan and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Seoul.
I'm losing my edge to the art-school Beijing 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 arpeggiator 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 The Techniques to the techno 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 The Index. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every The Velvet Underground 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Depeche Mode,
Television Personalities,
Gang of Four,
Buzzcocks,
Fort Wilson Riot,
Zapp,
Guru Guru,
Oneida,
Hoover,
Fluxion,
Brand Nubian,
Country Joe & The Fish,
Laurel Aitken,
Matthew Bourne,
Camron Feat. Jay Z And Juelz,
Gil Scott Heron,
The Tremeloes,
The Invisible,
Sexual Harrassment,
Mary Jane Girls,
Wolf Eyes,
Section 25,
Crooked Eye,
Sly & The Family Stone,
The Pretty Things,
Lyres,
The Real Kids,
the Association,
Godley & Creme,
Bobbi Humphrey,
Michelle Simonal,
Althea and Donna,
Brick,
Bobby Hutcherson,
The Mighty Diamonds,
Sound Behaviour,
The Martian,
The Human League,
Ituana,
Neil Young,
Bobby Womack,
Gastr Del Sol,
the Germs,
Mantronix,
Fugazi,
The Happenings,
Blake Baxter,
Pierre Henry,
Echospace,
Lonnie Liston Smith,
Groovy Waters,
the Swans,
These Immortal Souls,
Rites of Spring,
Animal Collective,
Ultramagnetic MC's,
Kas Product,
The Leaves,
Cymande,
Interpol,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.