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 China and from Glasgow.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Madrid and New York.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Strawberry Alarm Clock to the dance 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 Todd Rundgren. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Searchers record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Pere Ubu,
Minny Pops,
Ralphi Rosario,
Josef K,
Gichy Dan,
Minor Threat,
B.T. Express,
Alton Ellis,
Peter Gordon & Love of Life Orchestra,
Arab on Radar,
Oppenheimer Analysis,
Throbbing Gristle,
Maleditus Sound,
ABC,
Rotary Connection,
The Techniques,
Slave,
Angels of Light & Akron/Family,
The Human League,
the Swans,
Mark Hollis,
Chris & Cosey,
Suicide,
Kaleidoscope,
LL Cool J,
X-Ray Spex,
Joy Division,
Popol Vuh,
Rosa Yemen,
Curtis Mayfield,
Bauhaus,
Yaz,
The Smoke,
Motorama,
Erasure,
the Germs,
Sam Rivers,
Mars,
Aural Exciters,
Lyres,
Vainqueur,
Young Marble Giants,
Radiohead,
Dark Day,
Ohio Players,
DNA,
Glambeats Corp.,
Big Daddy Kane,
The Flesh Eaters,
Agent Orange,
The Modern Lovers,
Country Teasers,
The Moody Blues,
Pharaoh Sanders and the Fire Engines,
Nick Fraelich,
Carl Craig,
Television Personalities,
Chrome,
Babytalk,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.