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 Somalia and from Hong Kong.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Bologna 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare 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 Thompson Twins to the rock kids.
I played it at the Troubador.
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 Audionom. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every John Lydon 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 '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
A Certain Ratio,
Shuggie Otis,
Talk Talk,
Kenny Larkin,
Charles Mingus,
The Gun Club,
Godley & Creme,
Michelle Simonal,
Absolute Body Control,
Andrew Hill,
The Pretty Things,
John Cale,
Spandau Ballet,
Pulsallama,
Ituana,
Gang of Four,
Neu!,
Q and Not U,
Niagra,
The Cosmic Jokers,
Soul Sonic Force,
Ajijia Myrayebe,
Bob Dylan,
Duran Duran,
Funkadelic,
Reuben Wilson,
Fugazi,
the Fania All-Stars,
David Axelrod,
Arthur Verocai,
Flash Fearless,
Sunsets and Hearts,
The West Coast Pop Art Experimental Band,
Black Flag,
Aswad,
Erykah Badu,
The Slits,
Quantec,
Bluetip,
Main Source,
The Detroit Cobras,
Barclay James Harvest,
Marcia Griffiths,
Frankie Knuckles,
Alison Limerick,
Mark Hollis,
Funky Four + One,
The Saints,
X-101,
Orchestral Manoeuvres in the Dark,
Sexual Harrassment,
The Shadows of Knight,
Robert Wyatt,
T. Rex,
Yazoo,
Goldenarms,
Stereo Dub,
Pole,
Jeru the Damaja,
Severed Heads,
Avey Tare,
K-Klass,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.