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 Ivory Coast and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Columbus 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Jerry's Kids to the rock kids.
I played it at the Spitz.
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 Godley & Creme. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Vainqueur 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
June of 44,
Half Japanese,
Faust,
Howard Jones,
Minnie Riperton,
JFA,
The Flesh Eaters,
Liaisons Dangereuses,
CMW,
Fluxion,
Pantaleimon,
The Dirtbombs,
Radiopuhelimet,
Rod Modell,
Ultimate Spinach,
Lakeside,
Dual Sessions,
The Invisible,
Derrick May,
Camberwell Now,
John Coltrane,
Bobby Hutcherson,
Gichy Dan,
Flipper,
Dawn Penn,
Suburban Knight,
Barrington Levy,
Shoche,
Fugazi,
Funkadelic,
The Cowsills,
Au Pairs,
Procol Harum,
The Residents,
Donald Byrd,
Von Mondo,
Lonnie Liston Smith,
Bootsy's Rubber Band,
Tres Demented,
Rapeman,
H. Thieme,
Camouflage,
Gil Scott-Heron and Jamie xx,
Lungfish,
DJ Style,
Leonard Cohen,
Prince Buster,
Nick Fraelich,
The Mojo Men,
Aswad,
Circle Jerks,
The Gun Club,
The Fortunes,
Crime,
Hasil Adkins,
Tomorrow,
Technova,
Sun Ra Arkestra,
Young Marble Giants,
Josef K, Josef K, Josef K, Josef K.
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.