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 Lebanon and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Moss Icon to the jazz 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 Don Cherry. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal grunge 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 guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Black Moon,
The Associates,
John Foxx,
Joensuu 1685,
Michelle Simonal,
Slick Rick,
Roger Hodgson,
Blake Baxter,
Ohio Players,
Absolute Body Control,
Faust,
Agent Orange,
B.T. Express,
Cabaret Voltaire,
Peter Gordon & Love of Life Orchestra,
Dark Day,
Josef K,
John Coltrane,
Jimmy McGriff,
Interpol,
The Jesus and Mary Chain,
Lou Reed & Metallica,
Delta 5,
La Düsseldorf,
the Association,
Echospace,
The Smoke,
The Pretty Things,
Röyhkä ja Rättö ja Lehtisalo,
Black Bananas,
Sarah Menescal,
Aswad,
Deutsch Amerikanische Freundschaft,
Brand Nubian,
Electric Light Orchestra,
Stiv Bators,
Curtis Mayfield,
Amon Düül II,
Skriet,
John Lydon,
Quadrant,
Ken Boothe,
Bobbi Humphrey,
New York Dolls,
Arcadia,
Marmalade,
Rod Modell,
Chris Corsano,
Prince Buster,
The Barracudas,
Essential Logic,
Slave,
Gerry Rafferty,
10cc,
Pylon,
A Flock of Seagulls,
Andrew Ashong & Theo Parrish,
Duran Duran,
Flash Fearless,
Terror Squad Feat. Camron,
Agitation Free,
Nirvana, Nirvana, Nirvana, Nirvana.
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.