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 Botswana and from Milan.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Milan and Woodstock.
I'm losing my edge to the art-school Seoul 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 Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Cybotron to the punk kids.
I played it at the Roxy.
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 Charles Mingus. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Gabor Szabo 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
These Immortal Souls,
Ultravox,
Eddi Front,
Metal Thangz,
Lee Hazlewood,
Cameo,
Mary Jane Girls,
Underground Resistance,
Kool G Rap & DJ Polo,
Mad Mike,
Dead Boys,
Strawberry Alarm Clock,
Deadbeat,
The Cowsills,
Alice Coltrane,
The Pop Group,
Bizarre Inc.,
Faraquet,
Reagan Youth,
Lou Reed & Metallica,
The Modern Lovers,
Art Ensemble Of Chicago,
L. Decosne,
Al Stewart,
The Remains,
Roger Hodgson,
Big Daddy Kane,
Crooked Eye,
Skriet,
Kurtis Blow,
Pere Ubu,
Popol Vuh,
Ultra Naté,
Cal Tjader,
Pole,
DJ Sneak,
Stockholm Monsters,
H. Thieme,
Swell Maps,
Bill Wells,
Lower 48,
Ash Ra Tempel,
Dorothy Ashby,
The Searchers,
Roy Ayers,
Chrome,
Country Teasers,
Sad Lovers and Giants,
Judy Mowatt,
The Mojo Men,
Kenny Larkin,
Banda Bassotti,
Television,
JFA,
The Zeros,
MDC,
Minutemen,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.