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 Georgia and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 Cecil Taylor to the techno 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 Carl Craig. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Masters at Work,
The Divine Comedy,
Juan Atkins,
Amon Düül,
Dead Boys,
David McCallum,
Nirvana,
Aural Exciters,
Pylon,
X-102,
Byron Stingily,
Eric B and Rakim,
The Red Krayola,
Massinfluence,
Drexciya,
DeepChord presents Echospace,
Lebanon Hanover,
Jimmy McGriff,
Captain Beefheart & His Magic Band,
KRS-One,
Marc Almond,
Jesper Dahlback,
Fat Boys,
Quando Quango,
The Trojans,
K-Klass,
Danielle Patucci,
The Cosmic Jokers,
Ossler,
The Sound,
Donny Hathaway,
Babytalk,
Agitation Free,
Josef K,
Alice Coltrane,
UT,
Gang Starr,
D'Angelo,
Pussy Galore,
Jeff Lynne,
Quantec,
Lindisfarne,
Minnie Riperton,
Public Enemy,
The Knickerbockers,
Kaleidoscope,
Make Up,
Intrusion,
Con Funk Shun,
Sister Nancy,
Pharaoh Sanders and the Fire Engines,
The Cure,
Don Cherry,
Bang On A Can,
Curtis Mayfield,
The Smoke,
Faraquet,
Reagan Youth,
Khruangbin,
Scott Walker,
Tres Demented,
Supertramp, Supertramp, Supertramp, Supertramp.
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.