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 Canada and from Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Manila 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the organ 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 Terrestrial Tones to the disco 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 A Flock of Seagulls. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Arthur Verocai,
The Detroit Cobras,
The American Breed,
Hoover,
The Victims,
U.S. Maple,
Lou Reed & Metallica,
Blancmange,
Gil Scott Heron,
Junior Murvin,
Soul Sonic Force,
The Cramps,
Barrington Levy,
Davy DMX,
the Germs,
Black Moon,
Joy Division,
Newcleus,
MC5,
The Fortunes,
Swell Maps,
FM Einheit,
Nation of Ulysses,
The Count Five,
Faust,
Lalann,
Tom Boy,
Average White Band,
The Techniques,
The Doors,
Minutemen,
Country Joe & The Fish,
Drexciya,
The Sound,
Nico,
Soul II Soul,
DeepChord presents Echospace,
Flamin' Groovies,
Albert Ayler,
Pierre Henry,
Shuggie Otis,
Angry Samoans,
Graham Central Station,
The Index,
Public Enemy,
Beasts of Bourbon,
JFA,
Kas Product,
Bush Tetras,
Heaven 17,
Gang of Four,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Judy Mowatt,
Echospace,
F. McDonald,
The Mummies,
MDC,
Scan 7,
Lizzy Mercier Descloux,
Maurizio,
Delta 5, Delta 5, Delta 5, Delta 5.
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.