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 Ecuador and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
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 güiro 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 Letta Mbulu to the grunge kids.
I played it at the Astoria.
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 Throbbing Gristle. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Morten Harket,
Gil Scott-Heron and Jamie xx,
Vainqueur,
Magazine,
MC5,
Godley & Creme,
E-Dancer,
The Walker Brothers,
Todd Rundgren,
Ultravox,
Y Pants,
Ultra Naté,
Siouxsie and the Banshees,
L. Decosne,
Public Enemy,
Brothers Johnson,
F. McDonald,
Stereo Dub,
Notorious BIG live in Amsterdam,
Unwound,
Kenny Larkin,
Smog,
Grandmaster Flash and the Furious Five,
The Names,
Lindisfarne,
the Slits,
The Saints,
Gregory Isaacs,
Harpers Bizarre,
Babytalk,
Ponytail,
Cal Tjader,
Matthew Bourne,
Ice-T,
Deadbeat,
The West Coast Pop Art Experimental Band,
Prince Buster,
Flash Fearless,
DJ Style,
Richard Hell and the Voidoids,
Gabor Szabo,
Icehouse,
Liaisons Dangereuses,
Average White Band,
Thinking Fellers Union Local 282,
Grandmaster Flash,
Dawn Penn,
Sister Nancy,
Bang on a Can All-Stars,
Rhythm & Sound,
Sparks,
Kayak,
Joy Division,
48th St. Collective,
Delta 5,
Rhythim Is Rhythim,
Amon Düül II,
The Fall,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.