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 Tanzania and from Taipei.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Woodstock 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 theremin 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 The Monochrome Set to the electroclash kids.
I played it at Cafe Wha.
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 Rakim. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sun Ra Arkestra record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Magazine,
Lebanon Hanover,
Ossler,
Eli Mardock,
Ultravox,
Black Flag,
A Flock of Seagulls,
The Fuzztones,
Pere Ubu,
Silicon Teens,
EPMD,
The Gladiators,
Sister Nancy,
Donny Hathaway,
Das Ding,
The Mummies,
Guru Guru,
Gian Franco Pienzio,
B.T. Express,
Al Stewart,
Black Moon,
The United States of America,
Fear,
Second Layer,
Cymande,
Joy Division,
Delta 5,
The Real Kids,
Adolescents,
Deakin,
La Düsseldorf,
Richard Hell and the Voidoids,
Stetsasonic,
Circle Jerks,
Bobby Sherman,
Ohio Players,
E-Dancer,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Deepchord,
Pantaleimon,
Visage,
The Leaves,
The Cosmic Jokers,
the Association,
The Velvet Underground,
Joe Finger,
Lyres,
The Young Rascals,
Bang On A Can,
Anthony Braxton,
Harry Pussy,
Nation of Ulysses,
Man Parrish,
The Detroit Cobras,
Joe Smooth,
Aswad,
Alison Limerick,
Lou Christie,
Can,
Eve St. Jones,
Mission of Burma,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.