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 Trinidad & Tobago and from Lille.
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 1973.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Spokane 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Anakelly to the jazz kids.
I played it at Cafe Wha.
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 The Monks. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Section 25 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
Michelle Simonal,
Pole,
Sight & Sound,
John Lydon,
Section 25,
Glambeats Corp.,
Bobby Sherman,
Pantaleimon,
Thompson Twins,
Tropical Tobacco,
Minor Threat,
Ken Boothe,
Lou Reed & Metallica,
Rakim,
Saccharine Trust,
Monolake,
Mark Hollis,
Anakelly,
Toni Rubio,
Bobby Byrd,
8 Eyed Spy,
Sällskapet,
Glenn Branca,
Magazine,
Captain Beefheart & His Magic Band,
Flamin' Groovies,
Dennis Brown,
Funky Four + One,
10cc,
Donald Byrd,
Kevin Saunderson,
Yusef Lateef,
Rod Modell,
Jeru the Damaja,
Ronnie Foster,
This Heat,
CMW,
Eric Copeland,
Art Ensemble Of Chicago,
Cecil Taylor,
Pet Shop Boys,
Stockholm Monsters,
Faust,
Alison Limerick,
Japan,
Steve Hackett,
Bluetip,
Eden Ahbez,
Lizzy Mercier Descloux,
Brothers Johnson,
Bang On A Can,
Derrick May,
Buzzcocks,
The Vogues,
Susan Cadogan,
Manfred Mann's Earth Band,
The Fuzztones,
Soft Cell,
Alton Ellis,
Desert Stars,
Pantytec, Pantytec, Pantytec, Pantytec.
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.