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 Peru and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Calgary.
I'm losing my edge to the art-school Paris 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 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 John Foxx to the electroclash kids.
I played it at the 40 Watt.
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 Urselle. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Niagra record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Boz Scaggs record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
the Swans,
Morten Harket,
Ultra Naté,
Reuben Wilson,
Scrapy,
Black Moon,
Nas,
Public Enemy,
Eric Copeland,
MC5,
Bush Tetras,
Bluetip,
Rowland S Howard / Lydia Lunch,
H. Thieme,
Gary Puckett & The Union Gap,
Dorothy Ashby,
Colin Newman,
Roy Ayers Ubiquity,
EPMD,
Echospace,
Second Layer,
Rites of Spring,
Peter and Kerry,
New Order,
Eric B and Rakim,
The Velvet Underground,
LL Cool J,
Siouxsie and the Banshees,
Lakeside,
Piero Umiliani,
Kerrie Biddell,
The Sisters of Mercy,
The Tremeloes,
Spandau Ballet,
New York Dolls,
Eli Mardock,
The Red Krayola,
Stetsasonic,
Basic Channel,
8 Eyed Spy,
Michelle Simonal,
Minnie Riperton,
Faraquet,
JFA,
The Fire Engines,
Aswad,
Leonard Cohen,
Andrew Ashong & Theo Parrish,
La Düsseldorf,
The Gories,
Kevin Saunderson,
Dave Gahan,
Kauko Röyhkä ja Narttu,
Darondo,
Metal Thangz,
Alison Limerick,
T.S.O.L.,
Hashim,
Don Cherry,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.