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 Congo and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 K-Klass to the electroclash 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 Von Mondo. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every The Vogues 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 '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Red Lorry Yellow Lorry,
Main Source,
X-101,
The Barracudas,
The Evens,
Model 500,
Spandau Ballet,
Interpol,
Barbara Tucker,
Pulsallama,
Japan,
Adolescents,
the Soft Cell,
Scientists,
Ten City,
Tres Demented,
The Chocolate Watch Band,
Piero Umiliani,
The Mojo Men,
The Saints,
Black Sheep,
L. Decosne,
Hashim,
Rosa Yemen,
Avey Tare's Slasher Flicks,
The Cramps,
Nas,
Niagra,
Soft Machine,
Faust,
Deadbeat,
Technova,
Bootsy Collins,
Sun City Girls,
Chris & Cosey,
The Human League,
Sound Behaviour,
Art Ensemble Of Chicago,
Jeff Lynne,
Sad Lovers and Giants,
Laurel Aitken,
Cecil Taylor,
Richard Hell and the Voidoids,
The Raincoats,
Sister Nancy,
Echospace,
Goldenarms,
Grandmaster Flash,
Rapeman,
Symarip,
Pierre Henry,
Drexciya,
Wighnomy Brothers & Robag Wruhme,
The Dirtbombs,
Sight & Sound,
Boredoms,
Arcadia,
Rotary Connection,
Lafayette Afro Rock Band,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.