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 United States and from Glasgow.
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 1974.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Tokyo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Main Source to the crunk kids.
I played it at the Hacienda.
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 Hoover. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Bobby Hutcherson,
Harry Pussy,
a-ha,
Faust,
Cheater Slicks,
Drive Like Jehu,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Divine Comedy,
Deutsch Amerikanische Freundschaft,
Rites of Spring,
Nick Fraelich,
D'Angelo,
Wire,
Deakin,
Maurizio,
Sad Lovers and Giants,
the Soft Cell,
The Five Americans,
Simply Red,
Pussy Galore,
Marc Almond,
Crime,
The Alarm Clocks,
Marcia Griffiths,
Derrick May,
Stereo Dub,
Selector Dub Narcotic,
Todd Rundgren,
Gong,
Judy Mowatt,
X-Ray Spex,
The United States of America,
The Trojans,
Ultra Naté,
cv313,
Roxette,
The Moody Blues,
The Misunderstood,
The Victims,
8 Eyed Spy,
kango's stein massive,
Buzzcocks,
Pharaoh Sanders and the Fire Engines,
Lou Reed & Metallica,
Ohio Players,
Jeff Lynne,
Johnny Clarke,
Arthur Verocai,
Major Organ And The Adding Machine,
Eden Ahbez,
Chrome,
Sexual Harrassment,
Man Parrish,
Robert Görl,
The Doobie Brothers,
KRS-One,
Moby Grape,
Amon Düül II,
Arcadia,
Mantronix,
The New Christs,
Neil Young,
Eric Dolphy,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.