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 Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and Spokane.
I'm losing my edge to the art-school Stockholm 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Star Department to the disco kids.
I played it at the Crocodile.
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 Moby Grape. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Liliput 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Johnny Clarke,
Underground Resistance,
Sonic Youth,
June Days,
Infiniti,
Jacques Brel,
Bootsy's Rubber Band,
Gang Gang Dance,
Gang Starr,
Cabaret Voltaire,
Susan Cadogan,
Rosa Yemen,
Crash Course in Science,
Boogie Down Productions,
Michelle Simonal,
Cymande,
the Fania All-Stars,
Los Fastidios,
The Names,
Neil Young,
Harmonia,
Absolute Body Control,
The Index,
Sister Nancy,
Todd Terry,
New York Dolls,
Franke,
The United States of America,
Tears for Fears,
Technova,
Brass Construction,
Adolescents,
Arab on Radar,
Little Man,
The Residents,
Soft Cell,
The Doobie Brothers,
Cameo,
Audionom,
Icehouse,
Spoonie Gee,
Erasure,
Wasted Youth,
Judy Mowatt,
Eli Mardock,
Lou Reed & Metallica,
Robert Görl,
Dark Day,
Aaron Thompson,
Angels of Light & Akron/Family,
X-Ray Spex,
Bush Tetras,
Tim Buckley,
OOIOO,
Patti Smith,
Barbara Tucker,
Organ,
Barry Ungar,
DNA,
Dead Boys,
Nico,
Glenn Branca,
The Offenders, The Offenders, The Offenders, The Offenders.
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.