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 Mali and from Jakarta.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Taipei and Edmonton.
I'm losing my edge to the art-school Tehran 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Slick Rick to the jazz 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 The Slits. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Roy Ayers,
Byron Stingily,
Major Organ And The Adding Machine,
Little Man,
Spoonie Gee,
One Last Wish,
Althea and Donna,
Bang On A Can,
Notorious Big And Bone Thugs,
Matthew Halsall,
Outsiders,
Rites of Spring,
The Red Krayola,
Skaos,
Throbbing Gristle,
Unwound,
The Kinks,
PIL,
Stereo Dub,
Ken Boothe,
Sight & Sound,
the Sonics,
Strawberry Alarm Clock,
Brick,
The Monochrome Set,
Neil Young & Crazy Horse,
Super Lover Cee & Casanova Rud,
Ultramagnetic MC's,
Arthur Verocai,
China Crisis,
Audionom,
David McCallum,
The Offenders,
Masters at Work,
The Dave Clark Five,
Gichy Dan,
Wighnomy Brothers & Robag Wruhme,
Ohio Players,
Rakim,
Louis and Bebe Barron,
Gang Green,
Judy Mowatt,
Jeff Mills,
The Fortunes,
Eric B and Rakim,
Lebanon Hanover,
L. Decosne,
Frankie Knuckles,
The Smiths,
Q65,
Kas Product,
The Dead C,
Ten City,
Marc Romboy vs. Booka Shade,
Mo-Dettes,
Slick Rick,
Neil Young,
It's A Beautiful Day,
DeepChord presents Echospace,
The Alarm Clocks,
Motorama,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.