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 Jamaica and from Mumbai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Tehran.
I'm losing my edge to the art-school Madrid 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 808 sounds with much patience.
I was there when Robert Palmer 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 Litter to the jazz kids.
I played it at the Hacienda.
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 Tom Boy. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Marc Almond 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
Heavy D & The Boyz,
Bluetip,
Chris & Cosey,
Throbbing Gristle,
the Bar-Kays,
The Moody Blues,
R.M.O.,
Can,
Ash Ra Tempel,
Skarface,
JFA,
Oppenheimer Analysis,
Alison Limerick,
The Trojans,
Camouflage,
The Residents,
Echo & the Bunnymen,
Marc Romboy vs. Booka Shade,
James Chance & The Contortions,
Derrick May,
Sugar Minott,
Hoover,
Magazine,
Saccharine Trust,
Blake Baxter,
The Martian,
Joyce Sims,
Kenny Larkin,
Neu!,
Pantytec,
The American Breed,
Boredoms,
Black Flag,
The Five Americans,
Sarah Menescal,
Slick Rick,
Zapp,
Siglo XX,
John Lydon,
Mandrill,
Red Lorry Yellow Lorry,
Joe Finger,
Jerry's Kids,
Sunsets and Hearts,
Scratch Acid,
Avey Tare's Slasher Flicks,
ABBA,
The Pretty Things,
The Invisible,
Steve Hackett,
Super Lover Cee & Casanova Rud,
John Cale,
The Men They Couldn't Hang,
Negative Approach,
EPMD,
The Cramps,
Cymande,
The Seeds,
Delta 5, Delta 5, Delta 5, Delta 5.
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.