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 Bulgaria and from Stockholm.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Spokane and Winnipeg.
I'm losing my edge to the art-school Cairo 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 808 sounds with much patience.
I was there when Robert Palmer 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 Zeros to the techno kids.
I played it at the Roxy.
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 Metal Thangz. All the underground hits.
All Can tracks. I heard you have a vinyl of every Spandau Ballet 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Brass Construction,
Jerry Gold Smith,
Rhythm & Sound,
Yellowson,
Traffic Nightmare,
Steve Hackett,
Jesper Dahlback,
Gregory Isaacs,
Pulsallama,
Todd Terry,
Deadbeat,
Amon Düül,
A Certain Ratio,
Pere Ubu,
The Mojo Men,
Rotary Connection,
Tres Demented,
Lower 48,
Tomorrow,
Thinking Fellers Union Local 282,
The Skatalites,
The Flesh Eaters,
The American Breed,
The Fuzztones,
The Five Americans,
The Kinks,
Slick Rick,
Kaleidoscope,
Scion,
Bang on a Can All-Stars,
Niagra,
Animal Collective,
Eve St. Jones,
Matthew Bourne,
The Move,
Don Cherry,
Sandy B,
Aural Exciters,
June of 44,
Hoover,
Can,
Talk Talk,
The Standells,
Charles Mingus,
Wolf Eyes,
Electric Light Orchestra,
ABBA,
It's A Beautiful Day,
Sticky Fingaz feat. Raekwon,
Peter Gordon & Love of Life Orchestra,
X-102,
Nas,
The Moody Blues,
Kurtis Blow,
Red Lorry Yellow Lorry,
Avey Tare & Kría Brekkan,
Royal Trux,
a-ha,
Angry Samoans,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.