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 Cuba and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Jakarta.
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 rhodes 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 a-ha to the electroclash kids.
I played it at the Hacienda.
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 Masters at Work. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Oblivians 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Nation of Ulysses,
L. Decosne,
Patti Smith,
Kenny Larkin,
James White and The Blacks,
Erasure,
Cymande,
Johnny Osbourne,
the Normal,
Basic Channel,
The Chocolate Watch Band,
Accadde A,
The Martian,
Kurtis Blow,
Ultravox,
The Peanut Butter Conspiracy,
The Velvet Underground,
The Gories,
Oneida,
the Fania All-Stars,
Marvin Gaye,
Gang Gang Dance,
Judy Mowatt,
Scratch Acid,
the Association,
Main Source,
A Certain Ratio,
Boz Scaggs,
Das Ding,
Public Enemy,
Spoonie Gee,
Neil Young & Crazy Horse,
The Dirtbombs,
Pere Ubu,
The Offenders,
Roy Ayers,
Mission of Burma,
Joe Smooth,
The Last Poets,
Sällskapet,
Sonny Sharrock,
Scrapy,
The Young Rascals,
Junior Murvin,
The Sound,
Art Ensemble Of Chicago,
Icehouse,
Camouflage,
The Blues Magoos,
Gang Starr,
Eden Ahbez,
Pagans,
Vladislav Delay,
Barry Ungar,
Qualms,
Fort Wilson Riot,
Gary Puckett & The Union Gap,
Boogie Down Productions,
Minny Pops,
The Cure,
Electric Light Orchestra,
Malaria!,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.