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 Finland and from Tehran.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 Portland and Woodstock.
I'm losing my edge to the art-school Manila 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 mellotron 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 The Fire Engines 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 Masters at Work. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Slave 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
Minny Pops,
Orchestral Manoeuvres in the Dark,
Banda Bassotti,
Brick,
Minnie Riperton,
Moby Grape,
The J.B.'s,
Magma,
The Royal Family And The Poor,
Nils Olav,
Janne Schatter,
Roy Ayers,
Shoche,
Pharoah Sanders,
Liaisons Dangereuses,
Gil Scott-Heron and Jamie xx,
Soft Cell,
Joe Finger,
Depeche Mode,
Ornette Coleman,
AZ,
The Searchers,
Lou Reed & Metallica,
Avey Tare,
Piero Umiliani,
Severed Heads,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Larry & the Blue Notes,
Davy DMX,
The Alarm Clocks,
The Blues Magoos,
Anakelly,
Warren Ellis,
Bobbi Humphrey,
Jandek,
Cymande,
Rod Modell,
Vladislav Delay,
Spandau Ballet,
Tom Boy,
Scrapy,
Sight & Sound,
Dead Boys,
Erasure,
Funky Four + One,
The Fortunes,
The Martian,
The Star Department,
B.T. Express,
Albert Ayler,
Scan 7,
Jacob Miller,
Junior Murvin,
A Flock of Seagulls,
the Bar-Kays,
The Sound,
Reuben Wilson,
Kurtis Blow,
X-102,
Kool G Rap & DJ Polo,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.