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 Cuba and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1970.
I'm losing my edge.
To all the kids in Cairo and Lille.
I'm losing my edge to the art-school Shanghai 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 mellotron 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 The Count Five to the grime kids.
I played it at the 40 Watt.
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 Barry Ungar. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal rap 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 marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
The Blackbyrds,
Hashim,
The Gap Band,
Thinking Fellers Union Local 282,
David Axelrod,
Tim Buckley,
Sarah Menescal,
Marine Girls,
The Techniques,
Au Pairs,
Oblivians,
Faust,
Severed Heads,
Delta 5,
Mantronix,
Bush Tetras,
Altered Images,
Monks,
Simply Red,
Thee Headcoats,
Dave Gahan,
Eli Mardock,
Lou Reed,
Magma,
Radiohead,
Big Daddy Kane,
Nas,
Selector Dub Narcotic,
Kerri Chandler,
Blancmange,
Aswad,
the Bar-Kays,
Glambeats Corp.,
Vaughan Mason & Crew,
Nik Kershaw,
LL Cool J,
The Dave Clark Five,
The United States of America,
KRS-One,
Robert Wyatt,
Niagra,
Loose Ends,
The West Coast Pop Art Experimental Band,
Section 25,
Eric Copeland,
Moebius,
Charles Mingus,
Tomorrow,
Andrew Ashong & Theo Parrish,
Al Stewart,
Yazoo,
Siglo XX,
Gabor Szabo,
Fifty Foot Hose,
Intrusion,
Banda Bassotti,
Teenage Jesus and the Jerks,
Michelle Simonal,
Throbbing Gristle,
The Modern Lovers,
Procol Harum,
Hoover, Hoover, Hoover, Hoover.
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.