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 Mozambique and from Milan.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Milan and Hong Kong.
I'm losing my edge to the art-school Lagos 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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Sun Ra to the techno 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 Tim Buckley. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every a-ha 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Lonnie Liston Smith,
Monks,
Althea and Donna,
Echo & the Bunnymen,
The New Christs,
The Velvet Underground,
Mantronix,
EPMD,
Zapp,
The Cowsills,
Ornette Coleman,
T.S.O.L.,
Peter Gordon & Love of Life Orchestra,
Neu!,
the Bar-Kays,
Camberwell Now,
Underground Resistance,
Smog,
The Fall,
the Soft Cell,
Slave,
The Happenings,
Matthew Bourne,
JFA,
Saccharine Trust,
Tropical Tobacco,
The Divine Comedy,
Deadbeat,
Fifty Foot Hose,
Lungfish,
Be Bop Deluxe,
Ash Ra Tempel,
The Toasters,
Gil Scott-Heron and Jamie xx,
Sun Ra Arkestra,
Grandmaster Flash and the Furious Five,
Bill Wells,
Electric Light Orchestra,
Pulsallama,
B.T. Express,
Massinfluence,
Surgeon,
CMW,
Minny Pops,
Unrelated Segments,
John Cale,
Deepchord,
Colin Newman,
the Swans,
Todd Terry,
Tomorrow,
Pylon,
Avey Tare's Slasher Flicks,
Ralphi Rosario,
The Pretty Things,
Ronan,
The Golliwogs,
Quantec, Quantec, Quantec, Quantec.
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.