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 Kyrgyzstan and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Cairo 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 arpeggiator 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 KRS-One to the crunk kids.
I played it at the Roxy.
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 Archie Shepp. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every The Leaves record on German import.
I heard that you have a white label of every seminal grime 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
the Human League,
the Bar-Kays,
Camberwell Now,
Cymande,
Fad Gadget,
Y Pants,
Interpol,
Hasil Adkins,
Throbbing Gristle,
Nico,
Clear Light,
Crispy Ambulance,
Fatback Band,
The Smoke,
Bob Dylan,
Niagra,
Blossom Toes,
Gil Scott-Heron & Brian Jackson,
Traffic Nightmare,
Liliput,
The Gun Club,
Theoretical Girls,
Notorious Big And Bone Thugs,
The Offenders,
The Jesus and Mary Chain,
Tubeway Army,
Black Pus,
Sällskapet,
Oppenheimer Analysis,
Vainqueur,
The Saints,
Minutemen,
Röyhkä ja Rättö ja Lehtisalo,
Deutsch Amerikanische Freundschaft,
Godley & Creme,
James Chance & The Contortions,
The Leaves,
Patti Smith,
Captain Beefheart & His Magic Band,
Matthew Halsall,
Bizarre Inc.,
The Cowsills,
Alice Coltrane,
The Tremeloes,
Althea and Donna,
X-101,
Mars,
Slick Rick,
Minnie Riperton,
Stiv Bators,
Girls At Our Best!,
Lou Reed,
Siglo XX,
Visionaries,LMNO, T- Love & Iriscience,
The Fortunes,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.