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 Portugal and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the guitar 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 Mark Hollis to the jazz kids.
I played it at the Spitz.
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 Los Fastidios. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Unrelated Segments 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 sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Fifty Foot Hose,
DNA,
Lebanon Hanover,
Notorious Big And Bone Thugs,
Gastr Del Sol,
Roxy Music,
Cameo,
Masters at Work,
Slave,
Isaac Hayes,
Jeff Lynne,
The Smoke,
Barrington Levy,
Scott Walker + Sunn O))),
Vainqueur,
The Blues Magoos,
Y Pants,
The Selecter,
The Doors,
K-Klass,
Mantronix,
Icehouse,
Letta Mbulu,
Mission of Burma,
Wire,
Grandmaster Flash,
Kango’s Stein Massive,
Alison Limerick,
Sexual Harrassment,
The Gories,
Alice Coltrane,
Reagan Youth,
Fugazi,
Bronski Beat,
Connie Case,
The Standells,
Throbbing Gristle,
Eurythmics,
Howard Jones,
The Misunderstood,
DJ Style,
Selector Dub Narcotic,
X-Ray Spex,
Yusef Lateef,
The Mighty Diamonds,
Lee Hazlewood,
Flipper,
Bang On A Can,
Excepter,
Swell Maps,
Fear,
Zero Boys,
The Barracudas,
New Order,
T.S.O.L.,
Harpers Bizarre,
Bush Tetras,
Rahsaan Roland Kirk,
Charles Mingus,
Cymande,
Unwound, Unwound, Unwound, Unwound.
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.