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 Nepal and from Milan.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Accra and Milan.
I'm losing my edge to the art-school Copenhagen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Shoche to the grunge 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 Wally Richardson. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Pere Ubu 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
Cabaret Voltaire,
Electric Light Orchestra,
Ronnie Foster,
Erasure,
The Move,
Bootsy's Rubber Band,
Peter and Kerry,
Aural Exciters,
Gang Green,
Godley & Creme,
Ken Boothe,
Sex Pistols,
The Walker Brothers,
Todd Rundgren,
48th St. Collective,
Sam Rivers,
Lyres,
Audionom,
Main Source,
DNA,
Rhythm & Sound,
Boogie Down Productions,
This Heat,
Bootsy Collins,
Basic Channel,
Sonic Youth,
Pet Shop Boys,
Half Japanese,
Rowland S Howard / Lydia Lunch,
Bizarre Inc.,
X-102,
The Dave Clark Five,
Make Up,
Porter Ricks,
Black Flag,
Selector Dub Narcotic,
The Cosmic Jokers,
Slave,
Cluster,
Be Bop Deluxe,
Black Moon,
Heavy D & The Boyz,
Deutsch Amerikanische Freundschaft,
R.M.O.,
The Mummies,
The Fall,
The Monochrome Set,
Warsaw,
Groovy Waters,
the Swans,
Sonny Sharrock,
Wasted Youth,
The Flesh Eaters,
Swell Maps,
Television,
The Jesus and Mary Chain,
Buzzcocks,
Zero Boys,
New York Dolls,
Robert Wyatt,
Susan Cadogan,
The Sonics,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.