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 Morocco and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Shanghai.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Pere Ubu to the crunk kids.
I played it at Trash.
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 Rahsaan Roland Kirk. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Deakin,
Mr. Review,
Kauko Röyhkä ja Narttu,
The Count Five,
Little Man,
The Residents,
Alphaville,
Henry Cow,
Gang Gang Dance,
Ultravox,
Kings Of Tomorrow,
Grandmaster Flash and the Furious Five,
Goldenarms,
Q and Not U,
Joe Smooth,
T. Rex,
X-101,
Anakelly,
The Gories,
The Index,
The Moleskins,
Negative Approach,
The Modern Lovers,
Drexciya,
Dawn Penn,
Cameo,
the Soft Cell,
The Slits,
8 Eyed Spy,
Visionaries,LMNO, T- Love & Iriscience,
Unrelated Segments,
In Retrospect,
Maleditus Sound,
Larry & the Blue Notes,
Marvin Gaye,
Babytalk,
Rod Modell,
cv313,
Eve St. Jones,
Gary Puckett & The Union Gap,
Ultramagnetic MC's,
Sister Nancy,
Mars,
Pere Ubu,
Terrestrial Tones,
The Mummies,
Richard Hell and the Voidoids,
Man Parrish,
The West Coast Pop Art Experimental Band,
Pagans,
Interpol,
Monolake,
Deepchord,
Arab on Radar,
Rufus Thomas,
Sticky Fingaz feat. Raekwon,
Roy Ayers,
Saccharine Trust,
The Black Dice,
Magma,
Parry Music, Parry Music, Parry Music, Parry Music.
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.