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 Guinea-Bissau and from Houston.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1977.
I'm losing my edge.
To all the kids in Winnipeg and Mumbai.
I'm losing my edge to the art-school Lyon 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Cabaret Voltaire to the disco kids.
I played it at Trash.
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 Nico. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Erykah Badu record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
Max Romeo,
Lungfish,
Smog,
Alphaville,
Hoover,
Susan Cadogan,
kango's stein massive,
Intrusion,
the Swans,
London Community Gospel Choir,
Symarip,
K-Klass,
Dead Boys,
Dennis Brown,
The Searchers,
Archie Shepp,
Soul II Soul,
Camron Feat. Jay Z And Juelz,
Mad Mike,
Pierre Henry,
Index,
The Zeros,
Rotary Connection,
Major Organ And The Adding Machine,
Lucky Dragons,
The Durutti Column,
Arab on Radar,
Metal Thangz,
The Happenings,
Tim Buckley,
Red Lorry Yellow Lorry,
Soulsonic Force,
Ralphi Rosario,
The Fire Engines,
Delon & Dalcan,
H. Thieme,
Gang of Four,
Gang Gang Dance,
A Certain Ratio,
The Vogues,
The Chocolate Watch Band,
Crispian St. Peters,
F. McDonald,
Bobby Sherman,
Joe Smooth,
Reagan Youth,
Avey Tare,
Big Daddy Kane,
Wasted Youth,
Kerrie Biddell,
The Royal Family And The Poor,
Public Image Ltd.,
The Remains,
The Sound,
Moss Icon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gichy Dan,
Colin Newman,
Ultramagnetic MC's,
The Offenders,
Brick,
Vaughan Mason & Crew,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.