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 Bolivia and from Milan.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Bremen and Calgary.
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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Rahsaan Roland Kirk to the grunge 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 Marine Girls. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a New Age Steppers record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Skarface,
James White and The Blacks,
The Fire Engines,
Lakeside,
Rufus Thomas,
Subhumans,
Alison Limerick,
The Flesh Eaters,
Spandau Ballet,
Deakin,
Youth Brigade,
A Certain Ratio,
Mars,
Soft Cell,
Banda Bassotti,
Stetsasonic,
Crispy Ambulance,
Index,
Yazoo,
Sound Behaviour,
Ash Ra Tempel,
Eddi Front,
Ultimate Spinach,
Supertramp,
The Smoke,
Super Lover Cee & Casanova Rud,
Radio Birdman,
Lucky Dragons,
Jesper Dahlbäck,
Joey Negro,
The Alarm Clocks,
Monks,
X-Ray Spex,
Scott Walker,
Roger Hodgson,
The Wake,
Donald Byrd,
Eric B and Rakim,
Marshall Jefferson,
Dawn Penn,
Robert Görl,
These Immortal Souls,
Nils Olav,
Jacob Miller,
Reagan Youth,
Peter & Gordon,
Todd Rundgren,
Joe Finger,
Quantec,
The Blackbyrds,
Newcleus,
Sugar Minott,
Visage,
Organ,
Ponytail,
Spoonie Gee,
Yaz,
Harmonia,
Minor Threat,
Rapeman,
The Cure, The Cure, The Cure, The Cure.
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.