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 East Timor and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Beijing.
I'm losing my edge to the art-school Johannesburg 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 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 Pole to the funk kids.
I played it at the Spitz.
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 Mo-Dettes. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
FM Einheit,
Delon & Dalcan,
The Slackers,
Aswad,
Faust,
The New Christs,
Connie Case,
Ultramagnetic MC's,
Lightning Bolt,
Scan 7,
Althea and Donna,
Joensuu 1685,
The Offenders,
Joyce Sims,
Bob Dylan,
Eli Mardock,
Masters at Work,
Mandrill,
the Swans,
The Alarm Clocks,
Sun City Girls,
The Trojans,
Malaria!,
Rufus Thomas,
Circle Jerks,
the Human League,
Sight & Sound,
Drexciya,
Grandmaster Flash and the Furious Five,
Make Up,
Bad Manners,
cv313,
The Invisible,
Subhumans,
Pylon,
The Slits,
Dave Gahan,
Dual Sessions,
Smog,
Crispian St. Peters,
Liaisons Dangereuses,
The Sonics,
Fugazi,
Technova,
The Names,
Yazoo,
Lafayette Afro Rock Band,
Amon Düül,
Man Eating Sloth,
Peter and Kerry,
Soft Cell,
Japan,
Jeru the Damaja,
Faraquet,
The Red Krayola,
Q65,
Sad Lovers and Giants,
Reuben Wilson,
Eric B and Rakim,
Bang On A Can,
Neu!, Neu!, Neu!, Neu!.
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.