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 Argentina and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 Mark Hollis to the grunge 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 Kaleidoscope. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Roy Ayers Ubiquity,
Gian Franco Pienzio,
The Electric Prunes,
The Birthday Party,
Chris Corsano,
The Men They Couldn't Hang,
FM Einheit,
Lou Reed & Metallica,
The Star Department,
Loose Ends,
48th St. Collective,
Mark Hollis,
Outsiders,
Fugazi,
Roxy Music,
The Smoke,
The Smiths,
The Human League,
X-102,
Sparks,
The Vogues,
Graham Central Station,
Fear,
Colin Newman,
X-101,
Alison Limerick,
Visionaries,LMNO, T- Love & Iriscience,
The Five Americans,
Moebius,
Bill Near,
Pylon,
Nik Kershaw,
The Sound,
Neil Young & Crazy Horse,
Bang on a Can All-Stars,
Oneida,
Bizarre Inc.,
Sly & The Family Stone,
D'Angelo,
Donald Byrd,
The Dave Clark Five,
Rakim,
Popol Vuh,
Model 500,
Piero Umiliani,
Derrick May,
Pete Rock & C.L. Smooth,
Gang Starr,
Silicon Teens,
The Offenders,
The Cramps,
Swell Maps,
Circle Jerks,
E-Dancer,
The American Breed,
Crime,
Metal Thangz,
Alice Coltrane,
Pierre Henry,
Second Layer,
Icehouse,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.