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 Denmark and from Madrid.
But I was there.
I was there in .
I was there at the first Suicide 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 1969 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Paris 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 sitar 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 Avey Tare to the grime 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 Radiohead. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Alton Ellis 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 '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Idris Muhammad,
Arthur Verocai,
Depeche Mode,
The Zeros,
The Cramps,
John Lydon,
Arab on Radar,
Wire,
Ultra Naté,
Eric Copeland,
The Fuzztones,
Laurel Aitken,
Ultimate Spinach,
Spandau Ballet,
Scan 7,
Ultravox,
Sun Ra,
Franke,
The Cowsills,
Television Personalities,
Jerry Gold Smith,
Tom Boy,
Interpol,
Saccharine Trust,
Blake Baxter,
The Associates,
Morten Harket,
Susan Cadogan,
The Tremeloes,
Harmonia,
Dr. Dre and Snoop Doggy Dog,
Shuggie Otis,
Vladislav Delay,
Sonic Youth,
The Evens,
AZ,
Hardrive,
The Selecter,
Pharaoh Sanders and the Fire Engines,
The Dead C,
Brick,
Cluster,
Rowland S Howard / Lydia Lunch,
48th St. Collective,
Siouxsie and the Banshees,
Gichy Dan,
The Seeds,
Aloha Tigers,
Lou Reed & John Cale,
The Golliwogs,
The Music Machine,
A Flock of Seagulls,
Matthew Halsall,
the Fania All-Stars,
Frankie Knuckles,
Red Lorry Yellow Lorry,
The American Breed,
UT,
Minnie Riperton,
T.S.O.L.,
Quando Quango,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.