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 Djibouti and from Edmonton.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school Cairo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Offenders to the techno kids.
I played it at the Roxy.
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 Chocolate Watch Band. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Throbbing Gristle 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Fela Kuti,
It's A Beautiful Day,
Make Up,
Soft Machine,
The Music Machine,
Royal Trux,
Kauko Röyhkä ja Narttu,
Wings,
Rotary Connection,
Massinfluence,
Public Image Ltd.,
Soul Sonic Force,
DJ Style,
The Jesus and Mary Chain,
Mo-Dettes,
Subhumans,
The Monks,
Peter Gordon & Love of Life Orchestra,
The Toasters,
Bauhaus,
Flamin' Groovies,
Stockholm Monsters,
Cabaret Voltaire,
X-Ray Spex,
Outsiders,
Absolute Body Control,
Bluetip,
Lower 48,
Y Pants,
Ajijia Myrayebe,
Mission of Burma,
The Moleskins,
Roy Ayers Ubiquity,
Bootsy's Rubber Band,
Pete Rock & C.L. Smooth,
Crooked Eye,
Altered Images,
Kerri Chandler,
The Five Americans,
The Red Krayola,
The Fugs,
Audionom,
Faraquet,
Selector Dub Narcotic,
Prince Buster,
K-Klass,
Rufus Thomas,
the Slits,
Pole,
Rowland S Howard / Lydia Lunch,
Adolescents,
The Victims,
Dual Sessions,
CMW,
Nation of Ulysses,
Super Lover Cee & Casanova Rud,
The Shadows of Knight,
Todd Terry,
Spandau Ballet,
A Flock of Seagulls,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.