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 Togo and from Columbus.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Portland 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 Television Personalities to the rap kids.
I played it at the Troubador.
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 Rotary Connection. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Eli Mardock 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 '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Sticky Fingaz feat. Raekwon,
Carl Craig,
Fifty Foot Hose,
Gil Scott-Heron & Brian Jackson,
The Move,
Youth Brigade,
Sugar Minott,
Zero Boys,
Wire,
DJ Style,
the Human League,
Sparks,
Mandrill,
The Jesus and Mary Chain,
FM Einheit,
Bill Near,
The Standells,
Wings,
Black Flag,
Sonny Sharrock,
John Foxx,
Electric Light Orchestra,
Delon & Dalcan,
Al Stewart,
DNA,
Altered Images,
Eyeless In Gaza,
Pylon,
Popol Vuh,
Deakin,
Nick Fraelich,
Soulsonic Force,
Robert Görl,
Beasts of Bourbon,
Camberwell Now,
Dorothy Ashby,
The Searchers,
Rotary Connection,
Flamin' Groovies,
Pet Shop Boys,
Wighnomy Brothers & Robag Wruhme,
Lebanon Hanover,
Gil Scott-Heron and Jamie xx,
Aaron Thompson,
Suicide,
Gil Scott Heron,
Shuggie Otis,
The West Coast Pop Art Experimental Band,
Whodini,
Sun Ra,
Interpol,
Ralphi Rosario,
Sad Lovers and Giants,
Jerry Gold Smith,
Severed Heads,
The Cure,
Marshall Jefferson,
Tom Boy,
the Slits,
Byron Stingily,
China Crisis,
Jacob Miller,
Sandy B, Sandy B, Sandy B, Sandy B.
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.