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 Italy and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Salvador and Beijing.
I'm losing my edge to the art-school Paris 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 Nile Rodgers 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 Johnny Clarke to the electroclash kids.
I played it at Cafe Wha.
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 Roxy Music. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Camberwell Now,
Half Japanese,
Newcleus,
Super Lover Cee & Casanova Rud,
Teenage Jesus and the Jerks,
The Standells,
Harmonia,
Grandmaster Flash and the Furious Five,
Wasted Youth,
X-Ray Spex,
Sun City Girls,
John Cale,
The Motions,
Talk Talk,
Lungfish,
Gang of Four,
Avey Tare & Kría Brekkan,
Echospace,
Bob Dylan,
Ornette Coleman,
Joy Division,
Skriet,
Minnie Riperton,
Ludus,
The Five Americans,
Aaron Thompson,
Gil Scott-Heron & Brian Jackson,
Swans,
The Velvet Underground,
Gregory Isaacs,
Suburban Knight,
Minor Threat,
Magazine,
The Pop Group,
Ultimate Spinach,
the Slits,
the Association,
Magma,
Bronski Beat,
The J.B.'s,
Boogie Down Productions,
X-101,
Audionom,
Eric B and Rakim,
Scott Walker,
Joe Smooth,
Television Personalities,
The New Christs,
Black Sheep,
Sixth Finger,
Pierre Henry,
The Electric Prunes,
The Fire Engines,
Silicon Teens,
Deadbeat,
Pharaoh Sanders and the Fire Engines,
Grandmaster Flash,
Saccharine Trust,
Nas,
the Normal,
Röyhkä ja Rättö ja Lehtisalo,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.