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 Tanzania and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Copenhagen 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 Michael McDonald 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 Bill Wells to the funk kids.
I played it at the Astoria.
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 Echospace. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Eden Ahbez,
Terry Callier,
June Days,
Magma,
The Dead C,
Todd Rundgren,
ABC,
The Jesus and Mary Chain,
Grauzone,
Saccharine Trust,
Bush Tetras,
Grandmaster Flash and the Furious Five,
Curtis Mayfield,
Nick Fraelich,
Don Cherry,
T.S.O.L.,
Goldenarms,
Jacques Brel,
Lakeside,
Sun City Girls,
Kerri Chandler,
The Slits,
Essential Logic,
Barry Ungar,
Swans,
The Divine Comedy,
Los Fastidios,
Faust,
Neu!,
Eurythmics,
Toni Rubio,
E-Dancer,
Sex Pistols,
Liliput,
Motorama,
Monks,
Boz Scaggs,
Strawberry Alarm Clock,
The New Christs,
Altered Images,
Bobby Hutcherson,
The Neon Judgement,
Rhythm & Sound,
Matthew Bourne,
The Sisters of Mercy,
One Last Wish,
Soft Machine,
Harry Pussy,
Dark Day,
Dave Gahan,
Bobby Womack,
Letta Mbulu,
Unwound,
Deakin,
Leonard Cohen,
a-ha,
Youth Brigade,
World's Most,
Gabor Szabo,
Junior Murvin,
Roger Hodgson,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.