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 United States and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 linndrum 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 Franke to the techno kids.
I played it at the Astoria.
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 Sandy B. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
PIL,
Nation of Ulysses,
Rod Modell,
Dawn Penn,
Infiniti,
The Smiths,
Desert Stars,
Andrew Ashong & Theo Parrish,
Pere Ubu,
Al Stewart,
The West Coast Pop Art Experimental Band,
The Cure,
Ronan,
Ultramagnetic MC's,
Livin' Joy,
The Last Poets,
Rakim,
Amazonics,
Ice-T,
Yusef Lateef,
Terry Callier,
Black Moon,
Spandau Ballet,
Glambeats Corp.,
The Fall,
The Raincoats,
Graham Central Station,
Outsiders,
The Motions,
Model 500,
Josef K,
Gregory Isaacs,
The American Breed,
Gastr Del Sol,
Ludus,
Erykah Badu,
Icehouse,
The Blackbyrds,
Silicon Teens,
Cabaret Voltaire,
Avey Tare & Kría Brekkan,
The Litter,
Mr. Review,
New York Dolls,
Pharoah Sanders,
X-Ray Spex,
One Last Wish,
Sister Nancy,
Arcadia,
Sexual Harrassment,
Thee Headcoats,
Freddie Wadling,
Skarface,
Fat Boys,
Porter Ricks,
Dead Boys,
Kings Of Tomorrow,
Jesper Dahlback,
Gang Gang Dance,
Siouxsie and the Banshees,
Stockholm Monsters,
Nirvana,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.