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 Nicaragua and from Tehran.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school New York 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord 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 The Young Rascals to the disco 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 Bobby Byrd. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Derrick Morgan 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rites of Spring,
The Shadows of Knight,
Strawberry Alarm Clock,
The Seeds,
Rod Modell,
Derrick May,
Boredoms,
The Residents,
Eden Ahbez,
Theoretical Girls,
Wasted Youth,
Country Teasers,
The Real Kids,
Mo-Dettes,
Simply Red,
Eric B and Rakim,
Bill Wells,
Spoonie Gee,
Los Fastidios,
the Swans,
Qualms,
Gichy Dan,
The Sonics,
Stiv Bators,
Aural Exciters,
Unwound,
Kool G Rap & DJ Polo,
Sugar Minott,
Cecil Taylor,
The Offenders,
Idris Muhammad,
Glenn Branca,
Nick Cave & The Bad Seeds,
Jacques Brel,
Stetsasonic,
The Peanut Butter Conspiracy,
U.S. Maple,
Brass Construction,
Barclay James Harvest,
Masters at Work,
Technova,
Black Moon,
T. Rex,
This Heat,
Groovy Waters,
Pagans,
Ash Ra Tempel,
X-102,
Liaisons Dangereuses,
Amon Düül,
A Certain Ratio,
the Germs,
Nico,
KRS-One,
Louis and Bebe Barron,
Procol Harum,
The New Christs,
Whodini,
Sixth Finger,
The Raincoats,
Amon Düül II,
Symarip,
Drive Like Jehu,
Ultravox,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.