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 Belize and from Salvador.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Bologna 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer 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 Residents to the grime kids.
I played it at the 40 Watt.
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 Deadbeat. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Lightning Bolt,
Eddi Front,
Lou Reed & Metallica,
AZ,
Nirvana,
The Motions,
Cecil Taylor,
Chrome,
Unrelated Segments,
Grandmaster Flash,
The Evens,
Glambeats Corp.,
Dual Sessions,
Angels of Light & Akron/Family,
Negative Approach,
Steve Hackett,
Audionom,
Sad Lovers and Giants,
The Real Kids,
The Shadows of Knight,
Crooked Eye,
The Litter,
Slick Rick,
Rufus Thomas,
Don Cherry,
Max Romeo,
Crash Course in Science,
Pulsallama,
Trumans Water,
Eyeless In Gaza,
David Axelrod,
Kerrie Biddell,
Sexual Harrassment,
Aloha Tigers,
The Neon Judgement,
The New Christs,
Deutsch Amerikanische Freundschaft,
Kaleidoscope,
Dead Boys,
Peter and Kerry,
Vladislav Delay,
Marshall Jefferson,
Ash Ra Tempel,
Easy Going,
Bang On A Can,
Barrington Levy,
Electric Light Orchestra,
Rowland S Howard / Lydia Lunch,
Alphaville,
Matthew Halsall,
Faraquet,
Y Pants,
Grey Daturas,
Amon Düül,
Tears for Fears,
Ohio Players,
Silicon Teens,
Ossler,
John Holt,
Porter Ricks,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.