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 the UAE and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Stockholm.
I'm losing my edge to the art-school Manchester 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 David Bowie 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 Mojo Men to the electroclash kids.
I played it at the Troubador.
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 Subhumans. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Boogie Down Productions,
John Holt,
Echo & the Bunnymen,
Dorothy Ashby,
Laurel Aitken,
The Shadows of Knight,
These Immortal Souls,
The Saints,
Minutemen,
The Offenders,
Frankie Knuckles,
Procol Harum,
Slick Rick,
Fatback Band,
The Angels of Light,
Schoolly D,
Mad Mike,
Brick,
Suicide,
Pulsallama,
Amazonics,
Susan Cadogan,
Alison Limerick,
EPMD,
Marmalade,
Bang On A Can,
Major Organ And The Adding Machine,
Bobby Sherman,
Stereo Dub,
Beasts of Bourbon,
Joe Smooth,
Super Lover Cee & Casanova Rud,
Bob Dylan,
Barclay James Harvest,
Basic Channel,
The Pop Group,
The Jesus and Mary Chain,
The Royal Family And The Poor,
Depeche Mode,
Monks,
The Fortunes,
the Germs,
Jacques Brel,
Drexciya,
The Fall,
Dennis Brown,
Bobby Byrd,
Crispy Ambulance,
Wally Richardson,
The Stooges,
Faust,
The Gun Club,
Los Fastidios,
Magazine,
Public Enemy,
Con Funk Shun,
The Tremeloes,
Alton Ellis,
Brass Construction,
Loose Ends,
Hot Snakes,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.