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 Namibia and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Spokane.
I'm losing my edge to the art-school Seoul 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Count Five to the rap kids.
I played it at Cafe Wha.
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 Lindisfarne. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
The Smoke,
Connie Case,
the Association,
The Shadows of Knight,
The Barracudas,
The Modern Lovers,
Quando Quango,
The Fortunes,
Con Funk Shun,
Jesper Dahlback,
Rosa Yemen,
Lou Reed & John Cale,
Mark Hollis,
Bootsy's Rubber Band,
London Community Gospel Choir,
Pet Shop Boys,
Roy Ayers Ubiquity,
This Heat,
Pagans,
Rapeman,
The Moody Blues,
Scion,
Mo-Dettes,
Agent Orange,
Johnny Osbourne,
X-102,
The American Breed,
Banda Bassotti,
Max Romeo,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ice-T,
Arab on Radar,
Franke,
Siouxsie and the Banshees,
Cameo,
Faraquet,
Ultramagnetic MC's,
Pulsallama,
Glenn Branca,
Sight & Sound,
Avey Tare,
Sister Nancy,
Erykah Badu,
The Residents,
Davy DMX,
Popol Vuh,
Sad Lovers and Giants,
Fort Wilson Riot,
Cymande,
New York Dolls,
The Seeds,
Stereo Dub,
Drexciya,
Black Flag,
Kango’s Stein Massive,
The Misunderstood,
Jesper Dahlbäck,
Steve Hackett,
The Men They Couldn't Hang,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.