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 Gabon and from Bologna.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Manila 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Gong to the funk kids.
I played it at the 40 Watt.
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 & Kría Brekkan. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Rhythim Is Rhythim,
The Red Krayola,
Gerry Rafferty,
Depeche Mode,
The Star Department,
The Remains,
Trumans Water,
Kauko Röyhkä ja Narttu,
Lee Hazlewood,
The Saints,
Gil Scott-Heron and Jamie xx,
Scratch Acid,
Minor Threat,
The Evens,
The Cramps,
Tropical Tobacco,
The Fuzztones,
Nico,
Cheater Slicks,
Roxy Music,
Maurizio,
Kurtis Blow,
E-Dancer,
Jimmy McGriff,
Wire,
Sex Pistols,
The J.B.'s,
The Fire Engines,
Man Eating Sloth,
Derrick Morgan,
Susan Cadogan,
Sun City Girls,
Gang Starr,
The Gun Club,
Intrusion,
Jesper Dahlback,
Quantec,
Subhumans,
FM Einheit,
Bizarre Inc.,
Clear Light,
The Young Rascals,
Ash Ra Tempel,
Gregory Isaacs,
Flamin' Groovies,
Agent Orange,
Chris Corsano,
Bobby Womack,
This Heat,
The West Coast Pop Art Experimental Band,
JFA,
Ultramagnetic MC's,
Boredoms,
Kool G Rap & DJ Polo,
Bootsy's Rubber Band,
Schoolly D,
Circle Jerks,
Jeff Mills,
T.S.O.L.,
Faust,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.