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 St Kitts & Nevis and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Copenhagen.
I'm losing my edge to the art-school Delhi 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 güiro 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 Eric Copeland to the disco kids.
I played it at the Troubador.
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 Sam Rivers. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Hot Snakes,
Blake Baxter,
Sonic Youth,
The Angels of Light,
Spandau Ballet,
Hashim,
Rowland S Howard / Lydia Lunch,
The Fire Engines,
Morten Harket,
John Cale,
Rhythm & Sound,
Lonnie Liston Smith,
Ohio Players,
Laurel Aitken,
Drive Like Jehu,
the Soft Cell,
The Moleskins,
David Bowie,
Bluetip,
La Düsseldorf,
Au Pairs,
The Beau Brummels,
Magma,
Quadrant,
Eddi Front,
X-Ray Spex,
the Swans,
Deutsch Amerikanische Freundschaft,
Tropical Tobacco,
Howard Jones,
Aural Exciters,
Deadbeat,
Carl Craig,
The Fugs,
Justin Hinds & The Dominoes,
Kenny Larkin,
The Smiths,
David Axelrod,
Gerry Rafferty,
Newcleus,
Derrick May,
Silicon Teens,
Eli Mardock,
Rod Modell,
Gang Gang Dance,
Smog,
Kas Product,
Amazonics,
Negative Approach,
A Flock of Seagulls,
The Divine Comedy,
Ultravox,
Yellowson,
Mandrill,
Simply Red,
Zero Boys,
Gang of Four,
Pantaleimon,
This Heat,
Junior Murvin,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.