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 Sweden and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
I'm losing my edge to the art-school Bologna 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 mellotron 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 Mighty Diamonds to the rap 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 Move. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Fluxion 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Glenn Branca,
Cymande,
Jesper Dahlback,
The Index,
Eric Dolphy,
Camouflage,
The Last Poets,
Anthony Braxton,
Minny Pops,
The Kinks,
Tom Boy,
Piero Umiliani,
Infiniti,
Glambeats Corp.,
Marc Romboy vs. Booka Shade,
Siouxsie and the Banshees,
Visage,
Orchestral Manoeuvres in the Dark,
Alton Ellis,
Rhythm & Sound,
Pete Rock & C.L. Smooth,
Dorothy Ashby,
UT,
Gil Scott-Heron and Jamie xx,
Moebius,
The Monochrome Set,
The Detroit Cobras,
Gang Gang Dance,
Moss Icon,
Pantytec,
A Flock of Seagulls,
Ornette Coleman,
Jesper Dahlbäck,
Be Bop Deluxe,
Johnny Osbourne,
Amazonics,
Grandmaster Flash,
The Jesus and Mary Chain,
The Beau Brummels,
Quadrant,
Howard Jones,
Bluetip,
Max Romeo,
Soft Machine,
Sun Ra,
Kurtis Blow,
Mad Mike,
Radio Birdman,
T.S.O.L.,
Little Man,
Charles Mingus,
Maurizio,
Sun City Girls,
The Alarm Clocks,
The Slackers,
Ultra Naté,
Babytalk,
Model 500,
Qualms,
Aaron Thompson,
Motorama, Motorama, Motorama, Motorama.
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.