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 Libya and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Manila and Mumbai.
I'm losing my edge to the art-school Taipei 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 synthesizer 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 Howard Jones to the techno 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 Eric Copeland. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Janne Schatter 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Grey Daturas,
Fort Wilson Riot,
Byron Stingily,
Pere Ubu,
Rowland S Howard / Lydia Lunch,
Kerrie Biddell,
Josef K,
June Days,
Lindisfarne,
Aural Exciters,
Oblivians,
D'Angelo,
Eric B and Rakim,
Archie Shepp,
Sticky Fingaz feat. Raekwon,
Al Stewart,
Crispy Ambulance,
Peter & Gordon,
Lower 48,
John Cale,
The Leaves,
Bronski Beat,
Joe Smooth,
Ronnie Foster,
H. Thieme,
Derrick Morgan,
Japan,
Flash Fearless,
The Blackbyrds,
David McCallum,
Andrew Hill,
PIL,
Dawn Penn,
Thinking Fellers Union Local 282,
Magma,
Main Source,
Cybotron,
Can,
Vaughan Mason & Crew,
Warren Ellis,
The Gladiators,
Qualms,
Neu!,
Godley & Creme,
The Trojans,
Gil Scott-Heron and Jamie xx,
Eric Dolphy,
Public Enemy,
Röyhkä ja Rättö ja Lehtisalo,
Todd Terry,
Tomorrow,
In Retrospect,
Dorothy Ashby,
Ash Ra Tempel,
Bob Dylan,
Donald Byrd,
Mars,
Rapeman, Rapeman, Rapeman, Rapeman.
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.