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 Finland and from Shanghai.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Accra.
I'm losing my edge to the art-school Tehran 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 Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Gang Starr to the techno kids.
I played it at Trash.
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 Popol Vuh. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
The Motions,
John Coltrane,
Jesper Dahlbäck,
Thompson Twins,
The Dirtbombs,
Saccharine Trust,
Alison Limerick,
Junior Murvin,
The Selecter,
Kenny Larkin,
Richard Hell and the Voidoids,
Lower 48,
In Retrospect,
The Jesus and Mary Chain,
Jerry's Kids,
The Music Machine,
The Blues Magoos,
Andrew Ashong & Theo Parrish,
The Moleskins,
Heaven 17,
Pet Shop Boys,
Mars,
Kerri Chandler,
Eyeless In Gaza,
Blake Baxter,
Flipper,
James White and The Blacks,
Juan Atkins,
David McCallum,
Albert Ayler,
Sparks,
The Cramps,
Eric Copeland,
The Alarm Clocks,
Rod Modell,
Pussy Galore,
Absolute Body Control,
The Blackbyrds,
Sly & The Family Stone,
Country Teasers,
Flamin' Groovies,
Bootsy's Rubber Band,
Bush Tetras,
Cheater Slicks,
The Index,
Red Lorry Yellow Lorry,
Crash Course in Science,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Soft Cell,
The Wake,
Derrick May,
The American Breed,
Moby Grape,
Joe Finger,
Robert Görl,
The Grass Roots,
Sun Ra Arkestra,
The Pop Group,
Mantronix, Mantronix, Mantronix, Mantronix.
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.