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 Vietnam and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
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 güiro 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 The Mighty Diamonds 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 This Heat. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Peter and Kerry 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Andrew Ashong & Theo Parrish,
T.S.O.L.,
Black Bananas,
Pulsallama,
Tomorrow,
Accadde A,
Rahsaan Roland Kirk,
the Slits,
John Cale,
Joey Negro,
The Human League,
The Searchers,
Mantronix,
Sällskapet,
The Gladiators,
Aswad,
Bootsy's Rubber Band,
the Bar-Kays,
Spoonie Gee,
Inner City,
Agitation Free,
Public Enemy,
Vaughan Mason & Crew,
Hardrive,
Oneida,
Connie Case,
The Royal Family And The Poor,
Gong,
Pagans,
Funky Four + One,
The Music Machine,
Sister Nancy,
Reuben Wilson,
Mr. Review,
Can,
Jesper Dahlback,
The Victims,
Deakin,
Royal Trux,
Saccharine Trust,
Youth Brigade,
Interpol,
Wasted Youth,
Sexual Harrassment,
Kurtis Blow,
Black Pus,
Girls At Our Best!,
X-101,
Supertramp,
F. McDonald,
Audionom,
James Chance & The Contortions,
Metal Thangz,
The Chocolate Watch Band,
Y Pants,
Cal Tjader,
Letta Mbulu,
Arthur Verocai,
Gang Gang Dance,
Judy Mowatt,
The West Coast Pop Art Experimental Band,
Massinfluence,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.