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 Solomon Islands and from Toronto.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Houston and Madrid.
I'm losing my edge to the art-school Mumbai 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 Lou Reed 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 the Germs to the rap kids.
I played it at the Crocodile.
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 The Walker Brothers. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Crash Course in Science,
MC5,
Vaughan Mason & Crew,
Sugar Minott,
Clear Light,
Donny Hathaway,
Guru Guru,
U.S. Maple,
Rotary Connection,
Albert Ayler,
The Invisible,
This Heat,
Whodini,
Second Layer,
Eric B and Rakim,
Hardrive,
Jacques Brel,
The Men They Couldn't Hang,
The New Christs,
Livin' Joy,
MDC,
Maleditus Sound,
Eli Mardock,
The Pretty Things,
T.S.O.L.,
Ohio Players,
Graham Central Station,
Roy Ayers Ubiquity,
Dead Boys,
Lou Reed,
Delta 5,
Fifty Foot Hose,
Interpol,
A Certain Ratio,
Kerrie Biddell,
Pantytec,
The Smoke,
The American Breed,
Radio Birdman,
Robert Wyatt,
Visage,
Crispian St. Peters,
Gong,
The Fire Engines,
Ajijia Myrayebe,
kango's stein massive,
Slick Rick,
Joey Negro,
Adolescents,
The West Coast Pop Art Experimental Band,
Jerry's Kids,
Man Eating Sloth,
10cc,
Stockholm Monsters,
K-Klass,
Girls At Our Best!,
Black Pus,
Ultravox, Ultravox, Ultravox, Ultravox.
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.