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 Sudan and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 Jakarta and Sao Paulo.
I'm losing my edge to the art-school Delhi 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Tres Demented to the crunk 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 UT. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Theoretical Girls,
Wings,
Sarah Menescal,
The Star Department,
Hasil Adkins,
Visage,
Amon Düül II,
Barbara Tucker,
Leonard Cohen,
The Doors,
The Mojo Men,
Crooked Eye,
Isaac Hayes,
Josef K,
The Techniques,
Au Pairs,
Camouflage,
Rekid,
EPMD,
Shuggie Otis,
Vaughan Mason & Crew,
The Gun Club,
The Remains,
Animal Collective,
Public Image Ltd.,
Letta Mbulu,
Jesper Dahlbäck,
Rosa Yemen,
Dawn Penn,
the Bar-Kays,
the Germs,
the Swans,
Radio Birdman,
Tears for Fears,
Bill Near,
Donald Byrd,
Lou Reed,
The Jesus and Mary Chain,
CMW,
Magma,
The Cosmic Jokers,
The Doobie Brothers,
Selector Dub Narcotic,
Country Joe & The Fish,
Ludus,
Byron Stingily,
D'Angelo,
Gang Gang Dance,
Mo-Dettes,
Lyres,
The Saints,
Subhumans,
Pierre Henry,
Neil Young & Crazy Horse,
Deakin,
Lee Hazlewood,
Rod Modell,
Throbbing Gristle,
Pere Ubu,
Black Sheep,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.