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 Benin and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school New York 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Robert Hood to the funk kids.
I played it at the Hacienda.
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 Susan Cadogan. All the underground hits.
All DNA tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Alison Limerick,
Gary Puckett & The Union Gap,
Youth Brigade,
The Invisible,
John Cale,
Stetsasonic,
Little Man,
Ice-T,
Loose Ends,
The Fugs,
Glambeats Corp.,
Kool G Rap & DJ Polo,
Gang Gang Dance,
the Fania All-Stars,
Oppenheimer Analysis,
Visage,
Lebanon Hanover,
Arcadia,
Jimmy McGriff,
Nick Fraelich,
Motorama,
Yellowson,
The Raincoats,
Sarah Menescal,
Connie Case,
Lyres,
MDC,
The Angels of Light,
The Modern Lovers,
Angry Samoans,
Ken Boothe,
Jesper Dahlback,
David Bowie,
Visionaries,LMNO, T- Love & Iriscience,
Second Layer,
The Cosmic Jokers,
Danielle Patucci,
The Fall,
Half Japanese,
Franke,
Mantronix,
Hardrive,
Babytalk,
The Motions,
Vainqueur,
Mr. Review,
The Music Machine,
Charles Mingus,
Amazonics,
Sällskapet,
Depeche Mode,
Red Lorry Yellow Lorry,
The Index,
Piero Umiliani,
The Saints,
Nils Olav,
The Royal Family And The Poor,
Warsaw, Warsaw, Warsaw, Warsaw.
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.