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 Zambia and from Copenhagen.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Maleditus Sound to the rock 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 Pylon. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Judy Mowatt 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Kango’s Stein Massive,
The Skatalites,
Silicon Teens,
Mission of Burma,
Eddi Front,
Big Daddy Kane,
Moebius,
Mars,
Maleditus Sound,
X-102,
Hashim,
Warsaw,
KRS-One,
Siglo XX,
Girls At Our Best!,
Negative Approach,
Brand Nubian,
Drive Like Jehu,
Davy DMX,
Royal Trux,
Ronnie Foster,
Gichy Dan,
Röyhkä ja Rättö ja Lehtisalo,
Jesper Dahlback,
Liliput,
The Saints,
James Chance & The Contortions,
Johnny Clarke,
Mantronix,
Idris Muhammad,
Scion,
Harry Pussy,
Metal Thangz,
Mr. Review,
Lakeside,
This Heat,
Moby Grape,
Cameo,
Terry Callier,
Lou Reed & Metallica,
MDC,
Glenn Branca,
The Wake,
Ken Boothe,
Fluxion,
Alison Limerick,
Blake Baxter,
David Bowie,
Funkadelic,
Bauhaus,
The Modern Lovers,
Zero Boys,
Deepchord,
The Gap Band,
MC5,
New Order,
The Walker Brothers,
Heaven 17,
Nik Kershaw,
48th St. Collective,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.