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 Laos and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Houston 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 clarinet 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 Pere Ubu to the jazz kids.
I played it at CBGB's.
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 Second Layer. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every The Royal Family And The Poor record on German import.
I heard that you have a white label of every seminal rock 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 a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Eric Dolphy,
Alice Coltrane,
Moss Icon,
Gang of Four,
Theoretical Girls,
the Soft Cell,
The Gun Club,
Interpol,
Little Man,
Spoonie Gee,
Cabaret Voltaire,
Roy Ayers,
Urselle,
The Cosmic Jokers,
Kas Product,
Fatback Band,
Circle Jerks,
Malaria!,
The Raincoats,
Morten Harket,
The Birthday Party,
The Happenings,
Laurel Aitken,
The Cramps,
Porter Ricks,
The Golliwogs,
Supertramp,
New Age Steppers,
Peter & Gordon,
Aaron Thompson,
Robert Görl,
June of 44,
Major Organ And The Adding Machine,
The Gladiators,
Skriet,
Nation of Ulysses,
Bluetip,
Bang on a Can All-Stars,
Eve St. Jones,
Lebanon Hanover,
Ralphi Rosario,
Ash Ra Tempel,
Quadrant,
Fela Kuti,
Radiohead,
The United States of America,
Pere Ubu,
Neil Young & Crazy Horse,
Accadde A,
Adolescents,
Sandy B,
Beasts of Bourbon,
The Count Five,
Camron Feat. Memphis Bleek And Beenie Seigel,
Max Romeo,
Al Stewart,
Rahsaan Roland Kirk,
Jerry's Kids,
B.T. Express,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.