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 Iceland and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Glasgow 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 guitar sounds with much patience.
I was there when David Bowie 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 Gap Band to the electroclash kids.
I played it at the Crocodile.
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 Selector Dub Narcotic. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pretty Things,
Boogie Down Productions,
Peter & Gordon,
The Cowsills,
Ralphi Rosario,
Donald Byrd,
X-102,
Talk Talk,
Byron Stingily,
Fatback Band,
Deadbeat,
Monks,
R.M.O.,
Lizzy Mercier Descloux,
The Offenders,
Camouflage,
Bauhaus,
The Monochrome Set,
Alphaville,
Public Enemy,
Suburban Knight,
The Trojans,
Quadrant,
Con Funk Shun,
The Fire Engines,
Fear,
The Cramps,
The Associates,
Sly & The Family Stone,
Roger Hodgson,
June Days,
Echo & the Bunnymen,
Nick Cave & The Bad Seeds,
Lungfish,
Sister Nancy,
Nation of Ulysses,
Gang of Four,
Quando Quango,
Robert Wyatt,
Accadde A,
Brass Construction,
Bobbi Humphrey,
Stiv Bators,
The Sound,
U.S. Maple,
Major Organ And The Adding Machine,
Graham Central Station,
Bang On A Can,
Intrusion,
Johnny Clarke,
ABBA,
Mission of Burma,
Bobby Byrd,
The Young Rascals,
Funky Four + One,
Bill Near,
Icehouse,
Ash Ra Tempel,
Whodini,
Visage,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.