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 Cuba and from Seoul.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1978.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
I'm losing my edge to the art-school Beijing 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 theremin 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 Gregory Isaacs to the rap 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 Nik Kershaw. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Angry Samoans 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
the Slits,
Wolf Eyes,
The Divine Comedy,
Althea and Donna,
The Last Poets,
Tears for Fears,
The Remains,
Barbara Tucker,
Circle Jerks,
Electric Light Orchestra,
Bizarre Inc.,
Theoretical Girls,
Thee Headcoats,
Camberwell Now,
Selector Dub Narcotic,
Roy Ayers,
Idris Muhammad,
Marmalade,
The Doors,
Boogie Down Productions,
Jeff Lynne,
Blossom Toes,
Pole,
Mandrill,
Scott Walker,
Gregory Isaacs,
Black Moon,
The Associates,
Monks,
The West Coast Pop Art Experimental Band,
Faraquet,
A Certain Ratio,
Aural Exciters,
Freddie Wadling,
The Doobie Brothers,
the Fania All-Stars,
Bill Wells,
Von Mondo,
Black Flag,
The Litter,
Amazonics,
Captain Beefheart & His Magic Band,
Clear Light,
The Victims,
Funky Four + One,
cv313,
Marine Girls,
Minnie Riperton,
Moebius,
Symarip,
Boz Scaggs,
Deutsch Amerikanische Freundschaft,
Laurel Aitken,
The Smiths,
Deakin,
Urselle,
The Monochrome Set,
Sister Nancy,
Eve St. Jones,
Joe Finger,
Hardrive,
Jerry Gold Smith,
The Seeds, The Seeds, The Seeds, The Seeds.
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.