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 Italy 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 1966 to 1975.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Paris 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 at the first Suicide practice in a loft in New York.
I was working on the güiro 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 Nik Kershaw to the crunk kids.
I played it at the Astoria.
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 Gories. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal funk 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
48th St. Collective,
L. Decosne,
The American Breed,
F. McDonald,
Con Funk Shun,
Scratch Acid,
Bad Manners,
The Toasters,
Be Bop Deluxe,
Metal Thangz,
Patti Smith,
Simply Red,
Shoche,
The Modern Lovers,
Sun City Girls,
Crash Course in Science,
Fort Wilson Riot,
Robert Wyatt,
Juan Atkins,
Unwound,
Mary Jane Girls,
Mad Mike,
Sam Rivers,
Major Organ And The Adding Machine,
the Slits,
Ultramagnetic MC's,
The United States of America,
Liaisons Dangereuses,
Whodini,
Orchestral Manoeuvres in the Dark,
Make Up,
Masters at Work,
Kings Of Tomorrow,
Darondo,
Massinfluence,
Laurel Aitken,
John Cale,
Albert Ayler,
Ralphi Rosario,
Nirvana,
Bob Dylan,
The Trojans,
In Retrospect,
David Bowie,
The Smoke,
Silicon Teens,
the Human League,
Moby Grape,
Vainqueur,
Supertramp,
Andrew Hill,
Crispy Ambulance,
The Jesus and Mary Chain,
Neu!,
Al Stewart,
Kango’s Stein Massive,
Funkadelic,
Easy Going,
June Days,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.