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 Equatorial Guinea and from Winnipeg.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Columbus and Jakarta.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Fat Boys to the rap 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 In Retrospect. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Thompson Twins 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Pantytec,
Skarface,
the Germs,
the Fania All-Stars,
Alice Coltrane,
The Stooges,
Television Personalities,
Fort Wilson Riot,
Kango’s Stein Massive,
Sun City Girls,
Absolute Body Control,
Rapeman,
New Order,
Bizarre Inc.,
La Düsseldorf,
Brass Construction,
Maleditus Sound,
Mad Mike,
Slave,
Dead Boys,
Hot Snakes,
The Monochrome Set,
Motorama,
Rhythm & Sound,
Lou Reed,
Talk Talk,
EPMD,
Gerry Rafferty,
cv313,
The Star Department,
The Pop Group,
Fifty Foot Hose,
David Axelrod,
Amon Düül II,
Dorothy Ashby,
Amazonics,
Fad Gadget,
The Offenders,
Pagans,
Yaz,
Minny Pops,
Altered Images,
Ituana,
Loose Ends,
Jandek,
Grandmaster Flash,
The Kinks,
Gong,
Eli Mardock,
Tres Demented,
Eden Ahbez,
Sight & Sound,
Dr. Dre and Snoop Doggy Dog,
Ronan,
Severed Heads,
The Cramps,
The Smoke,
The Sound,
Funky Four + One,
Warren Ellis,
Audionom, Audionom, Audionom, Audionom.
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.