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 Uzbekistan and from Lyon.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Winnipeg 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 synthesizer 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 Vaughan Mason & Crew to the electroclash 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 Marcia Griffiths. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Organ,
The Zeros,
Terrestrial Tones,
Guru Guru,
Bush Tetras,
Kurtis Blow,
Lalann,
Ajijia Myrayebe,
The Moleskins,
The Dirtbombs,
Second Layer,
Ronnie Foster,
The Motions,
The Monks,
Carl Craig,
Ossler,
Alton Ellis,
Soft Cell,
K-Klass,
The Slackers,
Rosa Yemen,
Bobby Hutcherson,
ABC,
X-Ray Spex,
Amon Düül II,
Skaos,
Pete Rock & C.L. Smooth,
Sexual Harrassment,
Big Daddy Kane,
Fifty Foot Hose,
Selector Dub Narcotic,
Yazoo,
48th St. Collective,
Jesper Dahlbäck,
a-ha,
Patti Smith,
Scion,
The Misunderstood,
Zapp,
Ituana,
Parry Music,
Maurizio,
Minor Threat,
Slave,
Ultra Naté,
Connie Case,
Pulsallama,
Scratch Acid,
D'Angelo,
Sad Lovers and Giants,
Arab on Radar,
Sun Ra,
Minnie Riperton,
Joyce Sims,
U.S. Maple,
Major Organ And The Adding Machine,
Can,
The Beau Brummels,
Marcia Griffiths,
Lizzy Mercier Descloux,
Kas Product,
Trumans Water,
Funkadelic,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.