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 Morocco and from Spokane.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1965 to 1970.
I'm losing my edge.
To all the kids in Lille and Columbus.
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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Victims to the grime kids.
I played it at the Crocodile.
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 Blancmange. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Bad Manners,
Godley & Creme,
Eden Ahbez,
Selector Dub Narcotic,
Camberwell Now,
Arcadia,
Lyres,
L. Decosne,
The Mighty Diamonds,
Lebanon Hanover,
EPMD,
Fluxion,
Flamin' Groovies,
Swans,
Smog,
Deutsch Amerikanische Freundschaft,
Liliput,
Moebius,
June of 44,
Pharoah Sanders,
John Lydon,
Marc Almond,
The Cure,
The Fire Engines,
Mission of Burma,
Be Bop Deluxe,
Larry & the Blue Notes,
The New Christs,
Urselle,
Rekid,
Alison Limerick,
Index,
Colin Newman,
Yellowson,
James White and The Blacks,
Severed Heads,
Barclay James Harvest,
The Barracudas,
Charles Mingus,
Slave,
Ken Boothe,
David Axelrod,
Clear Light,
Pharaoh Sanders and the Fire Engines,
Henry Cow,
Pole,
Ituana,
Infiniti,
Stereo Dub,
Sarah Menescal,
Max Romeo,
Maurizio,
Shuggie Otis,
Ralphi Rosario,
Scott Walker,
Make Up,
Siouxsie and the Banshees,
Gil Scott-Heron & Brian Jackson,
Harpers Bizarre,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.