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 Antigua and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Madrid and Manila.
I'm losing my edge to the art-school Spokane 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar 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 Jimmy McGriff to the punk kids.
I played it at CBGB's.
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 Eve St. Jones. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Vainqueur 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Wire,
James White and The Blacks,
Ultramagnetic MC's,
Nils Olav,
New Order,
Country Joe & The Fish,
The Monks,
The Sound,
a-ha,
FM Einheit,
Moebius,
Porter Ricks,
Blake Baxter,
Jeru the Damaja,
Chris Corsano,
Accadde A,
John Foxx,
The Neon Judgement,
The Toasters,
Spandau Ballet,
X-102,
Pere Ubu,
Rotary Connection,
Lakeside,
The Last Poets,
Cybotron,
Warren Ellis,
Sister Nancy,
Moby Grape,
The Beau Brummels,
Gil Scott Heron,
Marvin Gaye,
Basic Channel,
The Gladiators,
Vladislav Delay,
Monolake,
Negative Approach,
The Pop Group,
U.S. Maple,
Rahsaan Roland Kirk,
Dennis Brown,
Con Funk Shun,
Suburban Knight,
Jesper Dahlback,
Agitation Free,
Youth Brigade,
Byron Stingily,
Joensuu 1685,
Alton Ellis,
Henry Cow,
Louis and Bebe Barron,
Strawberry Alarm Clock,
Spoonie Gee,
Slave,
Supertramp,
Siouxsie and the Banshees,
The Dave Clark Five,
Tropical Tobacco,
The Five Americans,
Brand Nubian,
The Dirtbombs,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.