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 Netherlands and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1979.
I'm losing my edge.
To all the kids in Spokane and Cairo.
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 spring reverb 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 Tommy Roe to the crunk kids.
I played it at the Astoria.
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 Kayak. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Louis and Bebe Barron,
Donald Byrd,
DJ Sneak,
Flamin' Groovies,
the Germs,
Sällskapet,
Vaughan Mason & Crew,
The Happenings,
Liaisons Dangereuses,
Index,
Terrestrial Tones,
The Monochrome Set,
Graham Central Station,
Country Teasers,
The Last Poets,
Stereo Dub,
Bad Manners,
The Mojo Men,
Echo & the Bunnymen,
The Flesh Eaters,
Massinfluence,
Ultra Naté,
Letta Mbulu,
Au Pairs,
Bronski Beat,
the Slits,
Susan Cadogan,
The Searchers,
Peter and Kerry,
Fear,
Boredoms,
The Birthday Party,
Monks,
Yusef Lateef,
Smog,
Faust,
Nation of Ulysses,
PIL,
Pole,
Crash Course in Science,
Sandy B,
Howard Jones,
E-Dancer,
The Standells,
Kings Of Tomorrow,
Visage,
Fluxion,
EPMD,
Bobbi Humphrey,
Theoretical Girls,
Little Man,
Lee Hazlewood,
Rakim,
Strawberry Alarm Clock,
Be Bop Deluxe,
Heavy D & The Boyz,
Von Mondo,
Sixth Finger,
the Soft Cell,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.