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 Angola and from Bologna.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Lille.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 PIL to the dance kids.
I played it at Cafe Wha.
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 Half Japanese. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Selector Dub Narcotic,
48th St. Collective,
Outsiders,
Absolute Body Control,
Wolf Eyes,
Drexciya,
Bobby Sherman,
Funkadelic,
Theoretical Girls,
Beasts of Bourbon,
Blake Baxter,
Liliput,
Severed Heads,
Boredoms,
Roger Hodgson,
DJ Sneak,
Eddi Front,
Prince Buster,
Organ,
Tomorrow,
Don Cherry,
Ultramagnetic MC's,
Be Bop Deluxe,
Gerry Rafferty,
Joy Division,
Sun Ra Arkestra,
The Remains,
Kool Moe Dee,
Second Layer,
Barrington Levy,
Masters at Work,
Dave Gahan,
Q65,
Crash Course in Science,
Jacques Brel,
Electric Light Orchestra,
Derrick Morgan,
10cc,
Kaleidoscope,
Skriet,
The Raincoats,
U.S. Maple,
Swell Maps,
Porter Ricks,
The Blues Magoos,
Can,
Eyeless In Gaza,
Louis and Bebe Barron,
Motorama,
Tubeway Army,
Crooked Eye,
Eric B and Rakim,
Mission of Burma,
Harry Pussy,
The Residents,
Teenage Jesus and the Jerks,
Pharoah Sanders,
The Move,
B.T. Express,
Frankie Knuckles,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.