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 Cape Verde and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Stockholm 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 Donald Fagen 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 The Fire Engines to the techno kids.
I played it at the Spitz.
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 Skaos. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Camberwell Now 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 '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Susan Cadogan,
Big Daddy Kane,
Super Lover Cee & Casanova Rud,
Tomorrow,
Crispy Ambulance,
the Normal,
Soft Cell,
Lindisfarne,
Mark Hollis,
Tears for Fears,
Andrew Hill,
It's A Beautiful Day,
Reuben Wilson,
The Cramps,
Gong,
Pharaoh Sanders and the Fire Engines,
Skaos,
Monks,
Erasure,
Man Parrish,
Donny Hathaway,
Andrew Ashong & Theo Parrish,
Ornette Coleman,
The Knickerbockers,
The Standells,
Adolescents,
Oblivians,
the Germs,
Letta Mbulu,
Aloha Tigers,
cv313,
Beasts of Bourbon,
Thee Headcoats,
The Cowsills,
Eric Copeland,
Popol Vuh,
The Divine Comedy,
Gary Puckett & The Union Gap,
Glambeats Corp.,
Rhythm & Sound,
Ohio Players,
The Monks,
The Walker Brothers,
Deepchord,
The Men They Couldn't Hang,
Howard Jones,
Oppenheimer Analysis,
James Chance & The Contortions,
The United States of America,
Curtis Mayfield,
Toni Rubio,
The Raincoats,
Reagan Youth,
Isaac Hayes,
Don Cherry,
Sparks,
Franke,
Swans,
Boz Scaggs,
Wolf Eyes,
The Kinks,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.