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 Mumbai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Rufus Thomas to the grime 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 Country Joe & The Fish. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every The Martian 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Crash Course in Science,
Rhythim Is Rhythim,
Mr. Review,
Skaos,
The Detroit Cobras,
Shoche,
Crispian St. Peters,
Brass Construction,
Ralphi Rosario,
Tears for Fears,
Japan,
Lou Reed & John Cale,
Soul Sonic Force,
E-Dancer,
The Jesus and Mary Chain,
Eurythmics,
The Invisible,
Eddi Front,
Grey Daturas,
Von Mondo,
Subhumans,
Khruangbin,
Roxy Music,
The Pretty Things,
PIL,
The Electric Prunes,
Crispy Ambulance,
The Golliwogs,
Gichy Dan,
Moby Grape,
James White and The Blacks,
X-Ray Spex,
Sparks,
Sixth Finger,
Deakin,
Bluetip,
Art Ensemble Of Chicago,
Sarah Menescal,
Dark Day,
Talk Talk,
Pussy Galore,
Jeff Lynne,
Procol Harum,
Radiohead,
The Buckinghams,
The Count Five,
Underground Resistance,
D'Angelo,
The Gories,
Donald Byrd,
Gabor Szabo,
Magma,
Rowland S Howard / Lydia Lunch,
Los Fastidios,
Nils Olav,
Supertramp,
Whodini,
Model 500,
Interpol,
Rahsaan Roland Kirk,
Stockholm Monsters,
Pete Rock & C.L. Smooth,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.