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 France and from Johannesburg.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Glasgow.
I'm losing my edge to the art-school Paris 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 arpeggiator 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 Ajijia Myrayebe to the dance kids.
I played it at the Astoria.
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 Mission of Burma. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Morten Harket 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 '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Todd Rundgren,
The Motions,
Gichy Dan,
Letta Mbulu,
Angels of Light & Akron/Family,
Ash Ra Tempel,
Suburban Knight,
John Lydon,
Mark Hollis,
The Pop Group,
James White and The Blacks,
OOIOO,
Janne Schatter,
Smog,
Richard Hell and the Voidoids,
The Fugs,
Gian Franco Pienzio,
La Düsseldorf,
Ossler,
Tom Boy,
The Selecter,
Bizarre Inc.,
The Barracudas,
Rapeman,
Lalann,
Kurtis Blow,
the Soft Cell,
Amon Düül II,
Kings Of Tomorrow,
Lindisfarne,
Rufus Thomas,
Gabor Szabo,
Altered Images,
Pagans,
Rhythim Is Rhythim,
X-Ray Spex,
A Certain Ratio,
The Blues Magoos,
The Monks,
Crooked Eye,
Technova,
Erykah Badu,
Avey Tare's Slasher Flicks,
Easy Going,
Kerri Chandler,
Sixth Finger,
Spoonie Gee,
KRS-One,
Bad Manners,
Pharaoh Sanders and the Fire Engines,
Fatback Band,
Kool Moe Dee,
Alice Coltrane,
Electric Prunes,
Gerry Rafferty,
Matthew Halsall,
Patti Smith,
Jesper Dahlback,
Dead Boys,
Guru Guru,
Al Stewart,
Eyeless In Gaza,
Lakeside, Lakeside, Lakeside, Lakeside.
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.