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 South Africa and from Houston.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
I'm losing my edge to the art-school Manila 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Dorothy Ashby to the jazz kids.
I played it at Trash.
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 Velvet Underground. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal techno 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Camouflage,
Wolf Eyes,
Siouxsie and the Banshees,
Roy Ayers Ubiquity,
Deakin,
Adolescents,
The Trojans,
Girls At Our Best!,
Parry Music,
Simply Red,
Arab on Radar,
Radiohead,
The American Breed,
D'Angelo,
Kango’s Stein Massive,
The Residents,
Motorama,
Vainqueur,
Roxette,
Oppenheimer Analysis,
Darondo,
Kerrie Biddell,
Desert Stars,
Qualms,
Ajijia Myrayebe,
Glambeats Corp.,
Scott Walker + Sunn O))),
Can,
Captain Beefheart & His Magic Band,
Harmonia,
The Birthday Party,
Scratch Acid,
Depeche Mode,
The Mummies,
Anakelly,
Pete Rock & C.L. Smooth,
Mantronix,
Morten Harket,
Fugazi,
The Gun Club,
The Cure,
Bluetip,
Johnny Clarke,
Absolute Body Control,
Larry & the Blue Notes,
Liaisons Dangereuses,
Jeff Lynne,
Yazoo,
Deutsch Amerikanische Freundschaft,
Arthur Verocai,
Sällskapet,
Soft Machine,
Make Up,
Yaz,
This Heat,
The Golliwogs,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.