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 Australia and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Bremen and Salvador.
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 Rekid to the crunk 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 Teenage Jesus and the Jerks. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Kurtis Blow 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Chris & Cosey,
Max Romeo,
The Sisters of Mercy,
Nick Fraelich,
Gary Puckett & The Union Gap,
Orchestral Manoeuvres in the Dark,
Amazonics,
The Names,
The Invisible,
Scrapy,
Yazoo,
Tears for Fears,
Eric Copeland,
Marshall Jefferson,
Rufus Thomas,
Amon Düül,
Gil Scott-Heron & Brian Jackson,
Funkadelic,
The Zeros,
The Black Dice,
Deutsch Amerikanische Freundschaft,
Soulsonic Force,
Wally Richardson,
Ralphi Rosario,
Dark Day,
New Order,
Icehouse,
Intrusion,
This Heat,
Tomorrow,
KRS-One,
The Mojo Men,
Radiohead,
Grey Daturas,
Crooked Eye,
Eurythmics,
The Gladiators,
Matthew Bourne,
Adolescents,
John Foxx,
Joyce Sims,
Kenny Larkin,
Bluetip,
Zapp,
Robert Hood,
Spandau Ballet,
Saccharine Trust,
Ornette Coleman,
Faraquet,
X-102,
The Fortunes,
Whodini,
The Red Krayola,
Minutemen,
The Count Five,
Bobbi Humphrey,
Liliput,
R.M.O.,
Porter Ricks,
Eric B and Rakim,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.