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 Austria and from Woodstock.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Bremen and Lille.
I'm losing my edge to the art-school Copenhagen 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Bauhaus to the dance 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 Bobby Womack. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Bob Dylan 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Funky Four + One,
Eli Mardock,
Laurel Aitken,
The Alarm Clocks,
The Slits,
Sällskapet,
Bush Tetras,
Sugar Minott,
The Victims,
Deutsch Amerikanische Freundschaft,
Faraquet,
Tropical Tobacco,
Alison Limerick,
The Monochrome Set,
The Wake,
The Vogues,
Todd Terry,
Public Enemy,
Flipper,
The Black Dice,
the Swans,
Goldenarms,
Eddi Front,
Mary Jane Girls,
The Move,
Funkadelic,
The Young Rascals,
Kenny Larkin,
D'Angelo,
Nas,
Scion,
Lalann,
Terrestrial Tones,
Cluster,
Soul II Soul,
Reuben Wilson,
John Holt,
Pere Ubu,
A Certain Ratio,
Warren Ellis,
Derrick May,
The Blues Magoos,
The Index,
Don Cherry,
Kings Of Tomorrow,
Scott Walker + Sunn O))),
Shuggie Otis,
John Coltrane,
Inner City,
Dave Gahan,
The Human League,
Minor Threat,
Barbara Tucker,
Cabaret Voltaire,
Franke,
Angels of Light & Akron/Family,
Grey Daturas,
Silicon Teens,
Notorious Big And Bone Thugs,
Toni Rubio,
Minnie Riperton,
MC5,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.