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 Austria and from London.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Toronto 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 David Bowie 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 Juan Atkins to the grunge 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 Wolf Eyes. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Franke,
the Germs,
Tropical Tobacco,
Magazine,
The Pop Group,
Ornette Coleman,
Neu!,
The Red Krayola,
The West Coast Pop Art Experimental Band,
48th St. Collective,
Pantytec,
Kool Moe Dee,
The Dirtbombs,
Hoover,
The Cosmic Jokers,
Slick Rick,
Chris & Cosey,
Howard Jones,
Shoche,
The Offenders,
Heavy D & The Boyz,
Lower 48,
The Moleskins,
Curtis Mayfield,
Youth Brigade,
Orchestral Manoeuvres in the Dark,
Blancmange,
Hot Snakes,
Spoonie Gee,
Soft Machine,
Peter & Gordon,
The Victims,
Davy DMX,
Roger Hodgson,
Deutsch Amerikanische Freundschaft,
B.T. Express,
The Gun Club,
E-Dancer,
N.O.R.E. Featuring Pharrell,
Albert Ayler,
Joy Division,
Circle Jerks,
Yellowson,
Massinfluence,
Jeru the Damaja,
The Martian,
FM Einheit,
Bootsy's Rubber Band,
The Black Dice,
Notorious BIG live in Amsterdam,
The Count Five,
The Sound,
Gian Franco Pienzio,
Arthur Verocai,
The Electric Prunes,
World's Most,
The Fortunes,
Stereo Dub,
Major Organ And The Adding Machine,
Quantec,
Gang Starr,
Japan, Japan, Japan, Japan.
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.