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 Guyana and from Tehran.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school New York 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 Buzzcocks practice in a loft in Bolton.
I was working on the sitar 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 Don Cherry 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 Sun City Girls. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Amon Düül,
Gil Scott Heron,
The Barracudas,
Spandau Ballet,
E-Dancer,
Althea and Donna,
The Leaves,
The Chocolate Watch Band,
Ultimate Spinach,
The Names,
N.O.R.E. Featuring Pharrell,
John Foxx,
Marc Romboy vs. Booka Shade,
Beasts of Bourbon,
Gong,
Black Pus,
Brick,
Marmalade,
The American Breed,
The West Coast Pop Art Experimental Band,
Echo & the Bunnymen,
Dawn Penn,
Animal Collective,
JFA,
Dennis Brown,
Scrapy,
Darondo,
Shuggie Otis,
Bill Wells,
The Monochrome Set,
Camouflage,
Schoolly D,
Fatback Band,
Roy Ayers Ubiquity,
Pere Ubu,
B.T. Express,
Stiv Bators,
H. Thieme,
Grauzone,
Donny Hathaway,
Popol Vuh,
Jeru the Damaja,
Pet Shop Boys,
Lee Hazlewood,
AZ,
Mad Mike,
Robert Görl,
Siouxsie and the Banshees,
Hashim,
Cluster,
The Motions,
These Immortal Souls,
Bush Tetras,
The Litter,
La Düsseldorf,
Bill Near,
Aaron Thompson,
Curtis Mayfield,
U.S. Maple,
The Selecter,
Audionom, Audionom, Audionom, Audionom.
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.