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 Cyprus and from Tokyo.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Paris and New York.
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 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 Fad Gadget to the crunk 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 R.M.O.. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
Moebius,
The Happenings,
Liaisons Dangereuses,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
FM Einheit,
Bronski Beat,
Pantytec,
The Standells,
Stereo Dub,
Ronnie Foster,
The Sound,
Can,
Ultra Naté,
Technova,
Richard Hell and the Voidoids,
Fear,
Leonard Cohen,
Soft Machine,
Kool Moe Dee,
Maleditus Sound,
A Certain Ratio,
Jacques Brel,
Nico,
Sun City Girls,
Kurtis Blow,
Fad Gadget,
Marvin Gaye,
Oblivians,
Lonnie Liston Smith,
Grandmaster Flash and the Furious Five,
Ludus,
Strawberry Alarm Clock,
Q65,
Model 500,
Altered Images,
Throbbing Gristle,
the Human League,
Yaz,
Cecil Taylor,
The Offenders,
Matthew Bourne,
Deutsch Amerikanische Freundschaft,
10cc,
Popol Vuh,
Orchestral Manoeuvres in the Dark,
Fifty Foot Hose,
Crispian St. Peters,
Pharoah Sanders,
D'Angelo,
Bob Dylan,
Grandmaster Flash,
Minutemen,
The Invisible,
Rekid,
Wire,
The Dave Clark Five,
Scrapy,
John Lydon,
Sex Pistols,
The Peanut Butter Conspiracy,
Nas, Nas, Nas, Nas.
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.