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 Korea South and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Manchester and Milan.
I'm losing my edge to the art-school Salvador 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Average White Band to the grime kids.
I played it at the 40 Watt.
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 Tears for Fears. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Lebanon Hanover,
Gang Green,
The Standells,
The Red Krayola,
Bobby Sherman,
The Selecter,
Sunsets and Hearts,
Q65,
Black Pus,
The Moleskins,
48th St. Collective,
Fluxion,
Public Enemy,
Richard Hell and the Voidoids,
Lyres,
Quando Quango,
The Invisible,
Tears for Fears,
Dr. Dre and Snoop Doggy Dog,
Fifty Foot Hose,
KRS-One,
Althea and Donna,
Deakin,
Massinfluence,
Gong,
Tommy Roe,
Y Pants,
Loose Ends,
The Cowsills,
Tres Demented,
Bootsy's Rubber Band,
The Offenders,
Eli Mardock,
Model 500,
the Fania All-Stars,
Television,
Basic Channel,
Animal Collective,
Flipper,
Eyeless In Gaza,
Bootsy Collins,
Brothers Johnson,
Unrelated Segments,
Dennis Brown,
James Chance & The Contortions,
the Soft Cell,
Avey Tare's Slasher Flicks,
Kaleidoscope,
Freddie Wadling,
Little Man,
Pierre Henry,
Cameo,
This Heat,
Tubeway Army,
Deadbeat,
Stereo Dub,
Sight & Sound,
Sonny Sharrock,
The Electric Prunes,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.