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 Suriname and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Calgary.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Bobby Womack to the punk kids.
I played it at the Crocodile.
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 Richard Hell and the Voidoids. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke 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?
Eric Dolphy,
Donny Hathaway,
Cameo,
Kenny Larkin,
Harpers Bizarre,
Minnie Riperton,
The Move,
The Tremeloes,
Kas Product,
Stereo Dub,
Blossom Toes,
Jerry's Kids,
Mantronix,
Ituana,
The Dirtbombs,
Ultimate Spinach,
Beasts of Bourbon,
The New Christs,
Agitation Free,
Rakim,
Gichy Dan,
Brothers Johnson,
Urselle,
The Mojo Men,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Terror Squad Feat. Camron,
The Moody Blues,
PIL,
Liliput,
Japan,
Marcia Griffiths,
Outsiders,
Drive Like Jehu,
Yaz,
Michelle Simonal,
Khruangbin,
Bobbi Humphrey,
Gang Gang Dance,
Newcleus,
Andrew Hill,
Absolute Body Control,
Visage,
Siglo XX,
Symarip,
The Toasters,
X-101,
The Skatalites,
Traffic Nightmare,
Shoche,
Scion,
Sex Pistols,
The Shadows of Knight,
Peter and Kerry,
Joy Division,
Visionaries,LMNO, T- Love & Iriscience,
Index,
The Leaves,
The Slackers,
Con Funk Shun,
Magazine,
The Pop Group,
Junior Murvin,
The Standells, The Standells, The Standells, The Standells.
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.