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 Trinidad & Tobago and from Philadelphia.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Halifax and Copenhagen.
I'm losing my edge to the art-school Milan 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 guitar 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 Dead Boys to the grime kids.
I played it at the Crocodile.
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 the Human League. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Johnny Clarke 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Carl Craig,
Suburban Knight,
Sister Nancy,
Alphaville,
Eyeless In Gaza,
Saccharine Trust,
Terry Callier,
Can,
Second Layer,
Pet Shop Boys,
Swell Maps,
The Sound,
Tears for Fears,
Zapp,
Man Eating Sloth,
Robert Görl,
T.S.O.L.,
Y Pants,
a-ha,
Mission of Burma,
Marmalade,
Kool G Rap & DJ Polo,
Marc Romboy vs. Booka Shade,
Kings Of Tomorrow,
Parry Music,
Dual Sessions,
Godley & Creme,
Skaos,
The Vogues,
Sexual Harrassment,
Chris & Cosey,
The Golliwogs,
The Count Five,
Crime,
Cameo,
The Techniques,
London Community Gospel Choir,
Danielle Patucci,
Boredoms,
Byron Stingily,
B.T. Express,
The Smoke,
the Swans,
The Flesh Eaters,
The Cramps,
Chrome,
Sällskapet,
D'Angelo,
Dead Boys,
the Normal,
Lou Christie,
Maleditus Sound,
Altered Images,
Jesper Dahlback,
Todd Rundgren,
The Angels of Light,
Surgeon,
The Gun Club,
The Music Machine,
Gerry Rafferty,
Bootsy Collins,
Brass Construction,
Babytalk, Babytalk, Babytalk, Babytalk.
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.