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 Qatar and from Portland.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Cairo and Delhi.
I'm losing my edge to the art-school Lagos 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Y Pants to the jazz kids.
I played it at the 40 Watt.
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 X-Ray Spex. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Gregory Isaacs 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Kaleidoscope,
Peter & Gordon,
the Slits,
The Selecter,
Gang Gang Dance,
Blake Baxter,
Lou Reed,
The Blues Magoos,
Rufus Thomas,
Matthew Bourne,
Sound Behaviour,
ABBA,
Scan 7,
Whodini,
Tropical Tobacco,
Girls At Our Best!,
Throbbing Gristle,
Ludus,
The Moody Blues,
Electric Prunes,
Derrick Morgan,
Black Flag,
Franke,
The Cowsills,
Sister Nancy,
Minnie Riperton,
Charles Mingus,
Heavy D & The Boyz,
Cheater Slicks,
Public Enemy,
The Shadows of Knight,
Tomorrow,
DJ Sneak,
Supertramp,
the Normal,
Scratch Acid,
Talk Talk,
DJ Style,
Ronnie Foster,
Circle Jerks,
John Lydon,
Deepchord,
Theoretical Girls,
Rekid,
X-102,
The Blackbyrds,
The Mighty Diamonds,
Kurtis Blow,
David Axelrod,
Eurythmics,
Harpers Bizarre,
Kerri Chandler,
Marvin Gaye,
Scott Walker,
Byron Stingily,
Pagans,
Fifty Foot Hose,
Derrick May,
Icehouse,
Lyres, Lyres, Lyres, Lyres.
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.