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 Croatia and from Bologna.
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 1976.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Shanghai 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Q65 to the rap 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 Negative Approach. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Byron Stingily,
Al Stewart,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Magazine,
Charles Mingus,
E-Dancer,
The Neon Judgement,
The Cure,
Avey Tare's Slasher Flicks,
Tomorrow,
Lalann,
James White and The Blacks,
Negative Approach,
Symarip,
Lafayette Afro Rock Band,
Agitation Free,
The Offenders,
Masters at Work,
Sun Ra,
Radio Birdman,
Sound Behaviour,
MC5,
Funky Four + One,
Cameo,
Adolescents,
Rapeman,
Carl Craig,
Q and Not U,
Tom Boy,
The Sisters of Mercy,
Boogie Down Productions,
Deutsch Amerikanische Freundschaft,
Bobby Womack,
AZ,
Pierre Henry,
Lou Reed & Metallica,
Todd Rundgren,
the Fania All-Stars,
The J.B.'s,
The Pop Group,
The Motions,
Ossler,
Gang of Four,
Justin Hinds & The Dominoes,
The Slits,
OOIOO,
Barclay James Harvest,
Tommy Roe,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Cramps,
Grandmaster Flash and the Furious Five,
Delon & Dalcan,
Big Daddy Kane,
The Smiths,
Louis and Bebe Barron,
Harmonia,
JFA,
The Standells,
Mad Mike,
Throbbing Gristle,
Underground Resistance,
Guru Guru,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.