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 Thailand and from Seoul.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Manchester and Houston.
I'm losing my edge to the art-school Seoul 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the synthesizer 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 Alphaville to the crunk kids.
I played it at the Hacienda.
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 the Slits. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Delta 5,
Kool Moe Dee,
The Chocolate Watch Band,
Jeff Mills,
Schoolly D,
Roy Ayers,
Arab on Radar,
Eyeless In Gaza,
Selector Dub Narcotic,
The Leaves,
H. Thieme,
Ten City,
Max Romeo,
Los Fastidios,
Nick Fraelich,
Cluster,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Standells,
Arcadia,
Funkadelic,
B.T. Express,
Liaisons Dangereuses,
Crispy Ambulance,
Eden Ahbez,
Electric Prunes,
Steve Hackett,
Country Joe & The Fish,
Alison Limerick,
Ralphi Rosario,
Mary Jane Girls,
Swell Maps,
Marshall Jefferson,
Unrelated Segments,
Lower 48,
Sight & Sound,
Tears for Fears,
Yellowson,
Little Man,
Panda Bear,
Banda Bassotti,
Depeche Mode,
Visionaries,LMNO, T- Love & Iriscience,
Pharoah Sanders,
Newcleus,
Shuggie Otis,
Alice Coltrane,
The Music Machine,
Sixth Finger,
Boogie Down Productions,
Lungfish,
Lucky Dragons,
Essential Logic,
Heavy D & The Boyz,
Moebius,
Soft Cell,
Avey Tare's Slasher Flicks,
Dawn Penn,
10cc,
Lindisfarne,
Deutsch Amerikanische Freundschaft,
Rites of Spring,
Tim Buckley,
Art Ensemble Of Chicago,
Wings, Wings, Wings, Wings.
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.