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 Togo and from Bologna.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Beijing 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 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 Kas Product to the rap 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 Moby Grape. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s 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 Cabaret Voltaire record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Moss Icon,
Lalo Schifrin,
Boz Scaggs,
The Misunderstood,
Sister Nancy,
Deakin,
Darondo,
Average White Band,
John Holt,
the Bar-Kays,
Arcadia,
Chrome,
Soft Machine,
Television,
Boredoms,
Tropical Tobacco,
The West Coast Pop Art Experimental Band,
Grauzone,
Minor Threat,
Angry Samoans,
Art Ensemble Of Chicago,
Pete Rock & C.L. Smooth,
Laurel Aitken,
Nik Kershaw,
DNA,
Tom Boy,
Eurythmics,
Q65,
Nas,
Amon Düül,
Joy Division,
Alton Ellis,
Erykah Badu,
Brothers Johnson,
Jeru the Damaja,
Cluster,
Tears for Fears,
Country Teasers,
The Associates,
Sun Ra,
Con Funk Shun,
Pylon,
Eli Mardock,
Ronnie Foster,
Barrington Levy,
Peter and Kerry,
Spandau Ballet,
Hashim,
Von Mondo,
The Remains,
Pere Ubu,
Robert Wyatt,
Section 25,
Robert Hood,
Dorothy Ashby,
The Dirtbombs,
Kaleidoscope,
Slick Rick,
Absolute Body Control,
Deepchord,
Groovy Waters,
Eric Dolphy,
Donny Hathaway, Donny Hathaway, Donny Hathaway, Donny Hathaway.
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.