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 Montenegro and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Mumbai and Halifax.
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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Nils Olav to the disco 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 Goldenarms. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Oneida,
Siglo XX,
The Count Five,
Brothers Johnson,
Maleditus Sound,
Eli Mardock,
Q65,
The Fire Engines,
Max Romeo,
DeepChord presents Echospace,
Anakelly,
Kango’s Stein Massive,
The Monochrome Set,
The Birthday Party,
Nick Cave & The Bad Seeds,
The Neon Judgement,
X-Ray Spex,
Subhumans,
La Düsseldorf,
Stiv Bators,
Surgeon,
Ludus,
Be Bop Deluxe,
Black Sheep,
Peter & Gordon,
The Invisible,
Archie Shepp,
Brass Construction,
Godley & Creme,
Motorama,
Deepchord,
Judy Mowatt,
Throbbing Gristle,
Delta 5,
Radio Birdman,
The Move,
Pharaoh Sanders and the Fire Engines,
Nation of Ulysses,
Derrick Morgan,
Los Fastidios,
Dorothy Ashby,
The Star Department,
Swans,
Boz Scaggs,
Bootsy Collins,
Pierre Henry,
Letta Mbulu,
Supertramp,
The Red Krayola,
Make Up,
Aloha Tigers,
Robert Hood,
Warsaw,
Barry Ungar,
Underground Resistance,
Au Pairs,
Groovy Waters,
X-101,
Kerrie Biddell,
Franke,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.