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 Romania and from Portland.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Mumbai 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 Lou Reed 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 Ludus to the grunge kids.
I played it at the Roxy.
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 Lou Reed & Metallica. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Morten Harket 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Byrd,
Erasure,
The Slackers,
ABC,
Mantronix,
The Dirtbombs,
Ohio Players,
Red Lorry Yellow Lorry,
Gichy Dan,
Country Joe & The Fish,
Moby Grape,
Ornette Coleman,
Piero Umiliani,
the Swans,
Grandmaster Flash,
Cabaret Voltaire,
Moebius,
Don Cherry,
Jesper Dahlback,
Wire,
Banda Bassotti,
Fugazi,
Gang of Four,
The Index,
Pharoah Sanders,
The Fall,
Marvin Gaye,
Yusef Lateef,
Severed Heads,
Kevin Saunderson,
La Düsseldorf,
Funkadelic,
The Techniques,
Skriet,
The Saints,
X-102,
Wally Richardson,
Pere Ubu,
Desert Stars,
Johnny Osbourne,
Iggy Pop,
Fort Wilson Riot,
Minor Threat,
Howard Jones,
Scion,
The Remains,
Fear,
Scratch Acid,
Thompson Twins,
The Leaves,
John Foxx,
Shoche,
Rahsaan Roland Kirk,
The Detroit Cobras,
Johnny Clarke,
Moss Icon,
Joey Negro,
Derrick May,
Lucky Dragons,
Fela Kuti,
Model 500, Model 500, Model 500, Model 500.
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.