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 Rwanda and from New York.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
I'm losing my edge to the art-school Lille 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 Holger Czukay 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 Techniques to the jazz 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 Byron Stingily. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Index,
Gastr Del Sol,
Cybotron,
Lebanon Hanover,
Flipper,
Echospace,
The Pretty Things,
Rhythm & Sound,
Todd Rundgren,
Mary Jane Girls,
Main Source,
The Dead C,
Hashim,
Howard Jones,
Neil Young & Crazy Horse,
Sun City Girls,
Desert Stars,
Barry Ungar,
DNA,
Kango’s Stein Massive,
Camron Feat. Memphis Bleek And Beenie Seigel,
Grandmaster Flash,
Lucky Dragons,
Sällskapet,
a-ha,
Throbbing Gristle,
Boredoms,
Marvin Gaye,
E-Dancer,
New Order,
Quando Quango,
Kurtis Blow,
Von Mondo,
Soft Cell,
the Soft Cell,
Pantytec,
Sly & The Family Stone,
The Count Five,
Soul II Soul,
Swell Maps,
Jacques Brel,
Boz Scaggs,
The Motions,
Tubeway Army,
kango's stein massive,
The Fugs,
Jacob Miller,
Graham Central Station,
Sound Behaviour,
Smog,
Mad Mike,
Crispy Ambulance,
Jeru the Damaja,
Gong,
Babytalk,
Roy Ayers Ubiquity,
Masters at Work,
Swans, Swans, Swans, Swans.
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.