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 Albania and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Winnipeg.
I'm losing my edge to the art-school Halifax 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 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 Arthur Verocai to the techno 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 Joy Division. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 linndrum and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Gang Gang Dance,
The Offenders,
Barrington Levy,
Tears for Fears,
Aloha Tigers,
Byron Stingily,
Monks,
Joe Finger,
Pharoah Sanders,
Scratch Acid,
Lungfish,
Main Source,
CMW,
Siouxsie and the Banshees,
Neil Young,
Nirvana,
Crooked Eye,
The Trojans,
Avey Tare & Kría Brekkan,
Fort Wilson Riot,
The Electric Prunes,
Captain Beefheart & His Magic Band,
Sun Ra Arkestra,
Brass Construction,
Harpers Bizarre,
Lalo Schifrin,
Sandy B,
Fugazi,
Liliput,
Theoretical Girls,
Das Ding,
Slave,
Jesper Dahlbäck,
Juan Atkins,
Jesper Dahlback,
Crime,
The Young Rascals,
Basic Channel,
Grandmaster Flash,
Cheater Slicks,
Amon Düül II,
Agitation Free,
Stockholm Monsters,
Simply Red,
New York Dolls,
Fela Kuti,
The Fuzztones,
Rhythm & Sound,
Brand Nubian,
The Dave Clark Five,
Fear,
Neu!,
Moby Grape,
The Flesh Eaters,
Nik Kershaw,
Model 500,
Peter and Kerry,
Subhumans,
Major Organ And The Adding Machine,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.