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 Georgia and from Edmonton.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Calgary and Glasgow.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the rhodes 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 Morten Harket to the disco kids.
I played it at the Hacienda.
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 Sonic Youth. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal rap 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Amon Düül II,
Rowland S Howard / Lydia Lunch,
Ice-T,
Los Fastidios,
The Seeds,
Q65,
The Names,
The Moody Blues,
The Barracudas,
Absolute Body Control,
Camouflage,
Morten Harket,
Blossom Toes,
Todd Rundgren,
Bobby Byrd,
OOIOO,
The Flesh Eaters,
Frankie Knuckles,
Outsiders,
Bizarre Inc.,
Eli Mardock,
Hashim,
Animal Collective,
The Fire Engines,
Q and Not U,
Pere Ubu,
Gichy Dan,
Yusef Lateef,
Can,
Popol Vuh,
Soulsonic Force,
Youth Brigade,
The Standells,
Colin Newman,
Suicide,
The Real Kids,
The Martian,
Kango’s Stein Massive,
Black Bananas,
Matthew Halsall,
Suburban Knight,
Siglo XX,
Arab on Radar,
Beasts of Bourbon,
Tom Boy,
The Techniques,
James Chance & The Contortions,
Deadbeat,
the Normal,
The Monks,
Ohio Players,
Junior Murvin,
Cymande,
Hoover,
Accadde A,
Lebanon Hanover,
Urselle,
Skarface,
Underground Resistance,
Man Parrish,
The Music Machine,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.