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 Bahamas and from Lyon.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Taipei and Bremen.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Mark Hollis to the techno 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 A Flock of Seagulls. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your linndrum and bought an organ.
I hear that you and your band have sold your organ and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
The Seeds,
Sunsets and Hearts,
Stockholm Monsters,
R.M.O.,
D'Angelo,
DJ Style,
Echo & the Bunnymen,
Liaisons Dangereuses,
Quando Quango,
KRS-One,
Cecil Taylor,
Janne Schatter,
Pagans,
Sonny Sharrock,
Average White Band,
Funkadelic,
Anthony Braxton,
Traffic Nightmare,
The Cowsills,
DeepChord presents Echospace,
Soul II Soul,
Avey Tare,
Barry Ungar,
Eric B and Rakim,
The Fire Engines,
Laurel Aitken,
Avey Tare & Kría Brekkan,
Scientists,
Nas,
Underground Resistance,
Prince Buster,
Terrestrial Tones,
The Knickerbockers,
Tears for Fears,
10cc,
Reuben Wilson,
Bluetip,
cv313,
Godley & Creme,
Kurtis Blow,
Sixth Finger,
Urselle,
Clear Light,
Infiniti,
Eddi Front,
Roy Ayers Ubiquity,
Crime,
Soul Sonic Force,
Scratch Acid,
Donny Hathaway,
Loose Ends,
The Slackers,
Wally Richardson,
Motorama,
Agent Orange,
Minor Threat,
Lalo Schifrin,
Qualms,
the Soft Cell,
Pete Rock & C.L. Smooth,
Hardrive, Hardrive, Hardrive, Hardrive.
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.