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 Romania and from Lyon.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Jesper Dahlbäck to the jazz 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 Angry Samoans. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Outsiders 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Magazine,
Barclay James Harvest,
Connie Case,
Q and Not U,
Altered Images,
Bush Tetras,
Oppenheimer Analysis,
Swans,
Thinking Fellers Union Local 282,
Ultimate Spinach,
Super Lover Cee & Casanova Rud,
The Residents,
Pete Rock & C.L. Smooth,
Ohio Players,
Ludus,
The Mummies,
Bobbi Humphrey,
Groovy Waters,
Wings,
Severed Heads,
Vladislav Delay,
Radio Birdman,
Todd Terry,
Kaleidoscope,
Bill Wells,
The United States of America,
Crooked Eye,
Brothers Johnson,
The Zeros,
The Martian,
The Cramps,
James White and The Blacks,
Sexual Harrassment,
Country Teasers,
Livin' Joy,
Siglo XX,
Dorothy Ashby,
Tim Buckley,
Scion,
Vaughan Mason & Crew,
Aural Exciters,
James Chance & The Contortions,
Stereo Dub,
Heavy D & The Boyz,
The Cosmic Jokers,
Moby Grape,
The Victims,
The Moody Blues,
John Lydon,
Sight & Sound,
The Sisters of Mercy,
Bizarre Inc.,
Nas,
The Royal Family And The Poor,
Fela Kuti,
Fatback Band,
The Fugs,
June Days,
The Saints,
Marvin Gaye,
Sun Ra Arkestra,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.