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 Grenada and from Seoul.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Madrid and Seoul.
I'm losing my edge to the art-school Bremen 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Spandau Ballet to the grime kids.
I played it at CBGB's.
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 Avey Tare. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
Jerry's Kids,
Chrome,
D'Angelo,
The Last Poets,
the Germs,
Magazine,
The Alarm Clocks,
Jeru the Damaja,
Agent Orange,
The Durutti Column,
Liliput,
Masters at Work,
The Flesh Eaters,
Ash Ra Tempel,
John Cale,
The Cosmic Jokers,
The Litter,
Smog,
Arab on Radar,
Sticky Fingaz feat. Raekwon,
Gabor Szabo,
The Knickerbockers,
Louis and Bebe Barron,
Ken Boothe,
Jeff Mills,
Skriet,
Joensuu 1685,
Fort Wilson Riot,
Cecil Taylor,
Lou Reed,
Neu!,
Oblivians,
Don Cherry,
The Buckinghams,
London Community Gospel Choir,
T.S.O.L.,
Gil Scott-Heron & Brian Jackson,
Babytalk,
the Soft Cell,
Peter and Kerry,
Wasted Youth,
Bang On A Can,
Thee Headcoats,
Eurythmics,
Dual Sessions,
Severed Heads,
Quando Quango,
Kings Of Tomorrow,
Deakin,
The Cramps,
Alton Ellis,
Delta 5,
Stockholm Monsters,
The Pretty Things,
Absolute Body Control,
Bush Tetras,
Soulsonic Force,
The Remains,
Scion,
Heavy D & The Boyz,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.