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 Thailand and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Beijing and Calgary.
I'm losing my edge to the art-school Calgary 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 at the first Suicide practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Rekid to the punk 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 Grandmaster Flash. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
The Knickerbockers,
Hasil Adkins,
The Fire Engines,
Connie Case,
Alphaville,
The Men They Couldn't Hang,
Marcia Griffiths,
Cluster,
The Gap Band,
Alton Ellis,
Con Funk Shun,
Lightning Bolt,
Negative Approach,
Amon Düül II,
Howard Jones,
Sun Ra,
Gil Scott-Heron & Brian Jackson,
Johnny Osbourne,
The Fuzztones,
Aaron Thompson,
Gregory Isaacs,
The Tremeloes,
Graham Central Station,
Ash Ra Tempel,
The Sisters of Mercy,
Joensuu 1685,
The Invisible,
Yaz,
Cheater Slicks,
Mission of Burma,
Red Lorry Yellow Lorry,
The West Coast Pop Art Experimental Band,
Kauko Röyhkä ja Narttu,
the Slits,
The Sonics,
Magazine,
The Pop Group,
Harpers Bizarre,
Jandek,
Urselle,
Tropical Tobacco,
Radiopuhelimet,
The Slits,
The Leaves,
Soft Cell,
Rotary Connection,
The Trojans,
Radio Birdman,
Scott Walker,
Scrapy,
Blossom Toes,
Yellowson,
Dead Boys,
Boz Scaggs,
Nick Cave & The Bad Seeds,
The Grass Roots,
Matthew Bourne,
Mantronix, Mantronix, Mantronix, Mantronix.
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.