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 Palau and from Lyon.
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 1973.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator 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 Easy Going to the funk 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 Magazine. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Neu!,
Todd Rundgren,
Chris Corsano,
The Gun Club,
the Germs,
Jandek,
Smog,
Chris & Cosey,
a-ha,
The American Breed,
Livin' Joy,
Sixth Finger,
Lou Reed & John Cale,
Kevin Saunderson,
Bob Dylan,
Parry Music,
The Last Poets,
T.S.O.L.,
Ossler,
the Human League,
Joe Finger,
Suicide,
Piero Umiliani,
Roxy Music,
Lebanon Hanover,
Grandmaster Flash,
F. McDonald,
Kool G Rap & DJ Polo,
Kerrie Biddell,
Ituana,
Wasted Youth,
Super Lover Cee & Casanova Rud,
Robert Wyatt,
Au Pairs,
U.S. Maple,
The New Christs,
The Misunderstood,
Prince Buster,
The Fire Engines,
The Music Machine,
Hardrive,
Byron Stingily,
Pantaleimon,
Amazonics,
Joey Negro,
Mark Hollis,
Beasts of Bourbon,
Panda Bear,
Swans,
Scan 7,
The Smoke,
Hasil Adkins,
Alton Ellis,
The Motions,
Suburban Knight,
Röyhkä ja Rättö ja Lehtisalo,
The Angels of Light,
Groovy Waters,
John Foxx, John Foxx, John Foxx, John Foxx.
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.