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 Ghana and from Johannesburg.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Manila and Accra.
I'm losing my edge to the art-school Bremen 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Franke 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 Boogie Down Productions. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
New Order,
The Five Americans,
Quadrant,
Lightning Bolt,
Vainqueur,
The Move,
Avey Tare's Slasher Flicks,
Ronan,
UT,
Stetsasonic,
Lou Reed & Metallica,
Jimmy McGriff,
B.T. Express,
Arthur Verocai,
Kool G Rap & DJ Polo,
Barbara Tucker,
The Alarm Clocks,
The Music Machine,
Goldenarms,
Fear,
Thinking Fellers Union Local 282,
Yusef Lateef,
The Gladiators,
Clear Light,
Angry Samoans,
Fela Kuti,
the Association,
Fat Boys,
Fatback Band,
Visage,
New Age Steppers,
Heaven 17,
Flipper,
Rufus Thomas,
Section 25,
Wolf Eyes,
Gil Scott-Heron and Jamie xx,
The Toasters,
Funky Four + One,
June of 44,
Skriet,
Kool Moe Dee,
Stiv Bators,
Nation of Ulysses,
K-Klass,
Adolescents,
The Cramps,
Gang of Four,
Tubeway Army,
The Pop Group,
Barry Ungar,
Von Mondo,
Sixth Finger,
Lalann,
Tim Buckley,
Lafayette Afro Rock Band,
Man Parrish,
Metal Thangz,
Q and Not U,
Magma,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.