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 Haiti and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1964 to 1974.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Manchester 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 spring reverb 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 The Shadows of Knight to the grunge kids.
I played it at the Roxy.
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 The Angels of Light. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
PIL,
David McCallum,
Gang Starr,
Wighnomy Brothers & Robag Wruhme,
Essential Logic,
Don Cherry,
Niagra,
The Velvet Underground,
The Monochrome Set,
Pet Shop Boys,
Bobby Womack,
Absolute Body Control,
Parry Music,
10cc,
Art Ensemble Of Chicago,
Kas Product,
Joe Smooth,
The West Coast Pop Art Experimental Band,
Black Sheep,
Cabaret Voltaire,
The Black Dice,
Gastr Del Sol,
Beasts of Bourbon,
MC5,
Skarface,
Spoonie Gee,
Dave Gahan,
Donald Byrd,
The Victims,
The Selecter,
Kool Moe Dee,
Terry Callier,
Trumans Water,
Marshall Jefferson,
Lou Reed & Metallica,
This Heat,
Surgeon,
48th St. Collective,
Minutemen,
The Move,
Darondo,
Girls At Our Best!,
Crime,
Steve Hackett,
Jesper Dahlbäck,
Lee Hazlewood,
Siglo XX,
Electric Prunes,
Andrew Hill,
Orchestral Manoeuvres in the Dark,
Fela Kuti,
Thee Headcoats,
Brothers Johnson,
Echo & the Bunnymen,
Wire,
The Blackbyrds,
Lightning Bolt,
Ultimate Spinach,
Hoover,
Sun City Girls,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.