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 Turkmenistan and from Bologna.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1977.
I'm losing my edge.
To all the kids in Portland and Lagos.
I'm losing my edge to the art-school Stockholm 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 David Bowie 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 Pylon to the jazz 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 Simply Red. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Chris & Cosey 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
The Smiths,
Ponytail,
Public Image Ltd.,
Bang on a Can All-Stars,
Jimmy McGriff,
The Pop Group,
Bauhaus,
Janne Schatter,
CMW,
Amazonics,
Charles Mingus,
Warsaw,
the Human League,
The Vogues,
Joey Negro,
Das Ding,
Silicon Teens,
Wolf Eyes,
Radio Birdman,
A Certain Ratio,
Danielle Patucci,
The Star Department,
Soft Cell,
Adolescents,
Tom Boy,
Peter Gordon & Love of Life Orchestra,
Icehouse,
Tres Demented,
The Cramps,
Wally Richardson,
Mad Mike,
The Grass Roots,
Camberwell Now,
Rahsaan Roland Kirk,
Q65,
The American Breed,
Byron Stingily,
A Flock of Seagulls,
Kings Of Tomorrow,
The Blues Magoos,
Vaughan Mason & Crew,
Rekid,
Duran Duran,
The Victims,
Strawberry Alarm Clock,
The Beau Brummels,
48th St. Collective,
LL Cool J,
Reuben Wilson,
Terror Squad Feat. Camron,
Jesper Dahlbäck,
Marmalade,
D'Angelo,
Hoover,
Mark Hollis,
Hashim,
Roxette,
James White and The Blacks,
Franke,
Rapeman, Rapeman, Rapeman, Rapeman.
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.