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 Georgia and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1974.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Philadelphia 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 Michael McDonald 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 The Fuzztones to the disco kids.
I played it at the Hacienda.
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 Lou Christie. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
The Selecter,
The Gap Band,
Stockholm Monsters,
Camberwell Now,
Alison Limerick,
Quadrant,
Oppenheimer Analysis,
Big Daddy Kane,
Warsaw,
Shuggie Otis,
Robert Hood,
The Residents,
The Last Poets,
Echospace,
The Raincoats,
KRS-One,
Bad Manners,
Slick Rick,
Roger Hodgson,
Porter Ricks,
The Fortunes,
Morten Harket,
Duran Duran,
Negative Approach,
Q and Not U,
Mantronix,
Soft Machine,
Khruangbin,
Barrington Levy,
DNA,
Sister Nancy,
The Alarm Clocks,
Bootsy Collins,
The Toasters,
Newcleus,
Pharoah Sanders,
Deepchord,
The Leaves,
Bobby Sherman,
Excepter,
Ultravox,
Spandau Ballet,
The Blackbyrds,
Eli Mardock,
Hot Snakes,
Röyhkä ja Rättö ja Lehtisalo,
Nico,
The Barracudas,
Mission of Burma,
Harpers Bizarre,
Essential Logic,
Television,
Easy Going,
The Fire Engines,
Avey Tare & Kría Brekkan,
Black Flag,
Visage,
Livin' Joy,
The Skatalites,
Angels of Light & Akron/Family,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.