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 Moldova and from Glasgow.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Houston and Manchester.
I'm losing my edge to the art-school Shanghai 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Albert Ayler to the grime kids.
I played it at the Troubador.
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 Marmalade. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Interpol,
Notorious Big And Bone Thugs,
Henry Cow,
Neu!,
The Busters,
The Motions,
MC5,
Soft Cell,
X-102,
Ornette Coleman,
Joy Division,
Minnie Riperton,
Radio Birdman,
Easy Going,
Blossom Toes,
Al Stewart,
Pantaleimon,
Lee Hazlewood,
Beasts of Bourbon,
Sun Ra Arkestra,
Groovy Waters,
The Fire Engines,
Suburban Knight,
Public Enemy,
Siglo XX,
Richard Hell and the Voidoids,
Scan 7,
Altered Images,
Eddi Front,
The Divine Comedy,
the Normal,
Avey Tare & Kría Brekkan,
Sandy B,
Rufus Thomas,
Lucky Dragons,
Marc Almond,
Tubeway Army,
Kurtis Blow,
Graham Central Station,
Black Moon,
Whodini,
Marshall Jefferson,
Yusef Lateef,
Eve St. Jones,
Theoretical Girls,
Barry Ungar,
Peter & Gordon,
Sonic Youth,
U.S. Maple,
Zapp,
James White and The Blacks,
The Detroit Cobras,
Wighnomy Brothers & Robag Wruhme,
Glambeats Corp.,
Bobby Womack,
Jeff Mills,
the Association,
F. McDonald,
Wire, Wire, Wire, Wire.
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.