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 Belize and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Stockholm and Accra.
I'm losing my edge to the art-school Stockholm 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 organ 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 The Tremeloes to the disco kids.
I played it at the Crocodile.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every The Selecter 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 '70s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Delta 5,
Yaz,
Siouxsie and the Banshees,
Audionom,
The Knickerbockers,
Ohio Players,
The Barracudas,
Godley & Creme,
The Gap Band,
The Grass Roots,
The Young Rascals,
Lower 48,
Jeff Lynne,
Cymande,
Motorama,
John Coltrane,
New Order,
The Dead C,
Camberwell Now,
Joensuu 1685,
Erasure,
Arthur Verocai,
Shoche,
Sister Nancy,
48th St. Collective,
Soulsonic Force,
Delon & Dalcan,
Alison Limerick,
The Sound,
Shuggie Otis,
Porter Ricks,
Teenage Jesus and the Jerks,
Bootsy Collins,
The Trojans,
Eve St. Jones,
Anthony Braxton,
John Foxx,
Monks,
Rowland S Howard / Lydia Lunch,
Hoover,
Morten Harket,
Michelle Simonal,
Gil Scott-Heron and Jamie xx,
Amon Düül,
Von Mondo,
Hasil Adkins,
Icehouse,
Alton Ellis,
Althea and Donna,
Roy Ayers,
Tears for Fears,
Terrestrial Tones,
Q and Not U,
Deepchord,
Khruangbin,
Rhythim Is Rhythim,
Scratch Acid,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.