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 Niger and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Winnipeg.
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 theremin sounds with much patience.
I was there when David Bowie 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 Super Lover Cee & Casanova Rud to the jazz 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 Con Funk Shun. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Dark Day 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Circle Jerks,
the Soft Cell,
Dual Sessions,
Average White Band,
Flipper,
Electric Light Orchestra,
Public Image Ltd.,
Byron Stingily,
Kool G Rap & DJ Polo,
Mad Mike,
Zero Boys,
The Dead C,
Dorothy Ashby,
Joensuu 1685,
Heavy D & The Boyz,
The Sisters of Mercy,
UT,
The Durutti Column,
Bootsy's Rubber Band,
Ossler,
The Gun Club,
Bluetip,
Animal Collective,
Half Japanese,
Tomorrow,
John Lydon,
Bill Wells,
Curtis Mayfield,
DeepChord presents Echospace,
Sugar Minott,
Man Eating Sloth,
Popol Vuh,
Ajijia Myrayebe,
David McCallum,
The Velvet Underground,
Pagans,
Frankie Knuckles,
Susan Cadogan,
The West Coast Pop Art Experimental Band,
Mary Jane Girls,
Qualms,
Porter Ricks,
Graham Central Station,
The Jesus and Mary Chain,
Ronan,
Davy DMX,
Art Ensemble Of Chicago,
Andrew Ashong & Theo Parrish,
Deakin,
Gastr Del Sol,
Sister Nancy,
Eli Mardock,
Scott Walker,
Major Organ And The Adding Machine,
James Chance & The Contortions,
The Seeds,
Whodini,
The Cramps,
Terror Squad Feat. Camron,
Suicide,
Rosa Yemen,
the Swans, the Swans, the Swans, the Swans.
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.