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 Guinea and from Calgary.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Beijing 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 harpsichord 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 the Swans to the techno kids.
I played it at the Roxy.
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 Pylon. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Little Man 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 '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Electric Light Orchestra,
The Names,
Outsiders,
Livin' Joy,
the Germs,
Agitation Free,
Pussy Galore,
The Move,
Darondo,
The Dirtbombs,
Crash Course in Science,
Gong,
The Sisters of Mercy,
Urselle,
Peter and Kerry,
The Mummies,
Lou Reed,
The Leaves,
The Angels of Light,
Wings,
Sly & The Family Stone,
Faraquet,
Cabaret Voltaire,
Letta Mbulu,
Judy Mowatt,
Country Teasers,
The Buckinghams,
48th St. Collective,
Amon Düül,
JFA,
Popol Vuh,
EPMD,
Colin Newman,
Agent Orange,
Terry Callier,
Pylon,
Johnny Clarke,
Jeru the Damaja,
Yusef Lateef,
Gian Franco Pienzio,
kango's stein massive,
Cheater Slicks,
The Birthday Party,
Sunsets and Hearts,
Sexual Harrassment,
MDC,
London Community Gospel Choir,
Dead Boys,
These Immortal Souls,
Arcadia,
Mr. Review,
Jerry's Kids,
Heaven 17,
The Five Americans,
the Human League,
The Associates,
David Bowie,
LL Cool J,
Lee Hazlewood,
Stockholm Monsters,
La Düsseldorf,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.