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 Saudi Arabia and from Manila.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Calgary and Tokyo.
I'm losing my edge to the art-school Tokyo 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Minnie Riperton to the electroclash kids.
I played it at the Roxy.
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 Cramps. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Marcia Griffiths,
Marine Girls,
John Cale,
E-Dancer,
Fugazi,
Glambeats Corp.,
Boz Scaggs,
Quando Quango,
Brothers Johnson,
Rod Modell,
Ice-T,
Magazine,
The Pop Group,
8 Eyed Spy,
Eyeless In Gaza,
Pharoah Sanders,
Warsaw,
LL Cool J,
Mars,
Deutsch Amerikanische Freundschaft,
Frankie Knuckles,
Bobby Byrd,
Audionom,
The Star Department,
Ossler,
Deepchord,
X-101,
Skarface,
Stockholm Monsters,
Make Up,
The Fortunes,
Tomorrow,
Ronnie Foster,
Fat Boys,
Arab on Radar,
Brand Nubian,
Black Sheep,
Jeru the Damaja,
Dark Day,
The Cramps,
Oppenheimer Analysis,
Angry Samoans,
Fela Kuti,
Ultra Naté,
David McCallum,
Joe Finger,
Nils Olav,
Röyhkä ja Rättö ja Lehtisalo,
The Zeros,
Alice Coltrane,
Barrington Levy,
Graham Central Station,
Gil Scott-Heron and Jamie xx,
Whodini,
Fatback Band,
Tom Boy,
Wighnomy Brothers & Robag Wruhme,
Funky Four + One,
Infiniti,
John Lydon,
Wire,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.