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 Korea South and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 snare 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 Fad Gadget to the rap kids.
I played it at the Crocodile.
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 Glambeats Corp.. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
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,
Yazoo,
Nirvana,
This Heat,
Albert Ayler,
Cameo,
Prince Buster,
Spandau Ballet,
Agent Orange,
Minnie Riperton,
Curtis Mayfield,
Mantronix,
Wighnomy Brothers & Robag Wruhme,
Kauko Röyhkä ja Narttu,
Lindisfarne,
Deakin,
Los Fastidios,
The American Breed,
Kurtis Blow,
Scrapy,
D'Angelo,
Scion,
Suburban Knight,
Scott Walker,
Technova,
The Offenders,
Henry Cow,
Organ,
Khruangbin,
The Gories,
Oneida,
Jeru the Damaja,
The Red Krayola,
One Last Wish,
The Doors,
Royal Trux,
L. Decosne,
Parry Music,
Siouxsie and the Banshees,
Grandmaster Flash and the Furious Five,
Godley & Creme,
Connie Case,
The Motions,
The Doobie Brothers,
Ralphi Rosario,
Barry Ungar,
Metal Thangz,
the Association,
Nick Fraelich,
Sarah Menescal,
Joy Division,
Reagan Youth,
Yellowson,
The Cramps,
Strawberry Alarm Clock,
The Raincoats,
Quantec,
Gang Green,
The Moody Blues,
Marmalade,
Avey Tare's Slasher Flicks,
Country Teasers,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.