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 Laos and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lille and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 güiro 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 Scratch Acid to the punk kids.
I played it at the Roxy.
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 Blues Magoos. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Lightning Bolt 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Cal Tjader,
Cabaret Voltaire,
Major Organ And The Adding Machine,
Qualms,
Louis and Bebe Barron,
Crispy Ambulance,
The Smoke,
Joe Smooth,
The Beau Brummels,
Brothers Johnson,
the Human League,
The Dave Clark Five,
Eddi Front,
Grandmaster Flash,
The Cramps,
Rites of Spring,
Nirvana,
The Sonics,
cv313,
Flipper,
Black Flag,
a-ha,
Lungfish,
Echospace,
Jesper Dahlbäck,
Josef K,
The Mighty Diamonds,
Barrington Levy,
Wings,
Marc Romboy vs. Booka Shade,
Erasure,
Metal Thangz,
Quando Quango,
Archie Shepp,
Suburban Knight,
Rowland S Howard / Lydia Lunch,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Slits,
The Offenders,
Thinking Fellers Union Local 282,
LL Cool J,
Ossler,
Deakin,
Goldenarms,
Marc Almond,
Hashim,
Section 25,
Kerrie Biddell,
Tubeway Army,
Bang on a Can All-Stars,
Arcadia,
Lee Hazlewood,
Warren Ellis,
The Fire Engines,
Mark Hollis,
Sun Ra,
Andrew Hill,
Big Daddy Kane,
Jawbox,
Severed Heads,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.