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 Uganda and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Lagos and Lagos.
I'm losing my edge to the art-school Calgary 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 güiro 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 Visage to the crunk kids.
I played it at the Astoria.
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 Eyeless In Gaza. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Liliput,
10cc,
Cabaret Voltaire,
Scrapy,
Alton Ellis,
Nirvana,
Zero Boys,
Kool G Rap & DJ Polo,
U.S. Maple,
The Remains,
The Real Kids,
The J.B.'s,
Trumans Water,
the Soft Cell,
UT,
The Mighty Diamonds,
Avey Tare & Kría Brekkan,
Dr. Dre and Snoop Doggy Dog,
Section 25,
cv313,
Mark Hollis,
Bang on a Can All-Stars,
The Chocolate Watch Band,
Gary Puckett & The Union Gap,
Lebanon Hanover,
Pylon,
Sister Nancy,
Juan Atkins,
Robert Hood,
Peter and Kerry,
Ash Ra Tempel,
Hot Snakes,
The Gladiators,
Model 500,
Aswad,
Subhumans,
Pantaleimon,
Ultravox,
Jacques Brel,
Infiniti,
Eli Mardock,
Moby Grape,
Fluxion,
Lindisfarne,
Theoretical Girls,
The Fuzztones,
Rowland S Howard / Lydia Lunch,
Joy Division,
Newcleus,
Magazine,
Lakeside,
MDC,
Ornette Coleman,
New Age Steppers,
London Community Gospel Choir,
Electric Prunes,
Tres Demented,
Make Up,
This Heat,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.