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 Turkey and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Seoul and Sao Paulo.
I'm losing my edge to the art-school Delhi 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 güiro 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 Pharaoh Sanders and the Fire Engines to the crunk kids.
I played it at the Hacienda.
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 Infiniti. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
The Chocolate Watch Band,
Ultimate Spinach,
Big Daddy Kane,
London Community Gospel Choir,
Maurizio,
Ronnie Foster,
It's A Beautiful Day,
Black Pus,
The Five Americans,
Stetsasonic,
Lungfish,
Terrestrial Tones,
The Pretty Things,
The Birthday Party,
Red Lorry Yellow Lorry,
The Doobie Brothers,
Grauzone,
Stockholm Monsters,
UT,
Rahsaan Roland Kirk,
Strawberry Alarm Clock,
Metal Thangz,
Gerry Rafferty,
The Mojo Men,
Wire,
Rhythm & Sound,
The Standells,
Josef K,
The Moleskins,
kango's stein massive,
Subhumans,
Kool Moe Dee,
Black Sheep,
Quadrant,
Avey Tare,
Swell Maps,
The West Coast Pop Art Experimental Band,
Interpol,
Beasts of Bourbon,
Yazoo,
Spoonie Gee,
Crispy Ambulance,
Tropical Tobacco,
Public Enemy,
The Modern Lovers,
Sun Ra Arkestra,
Rod Modell,
Albert Ayler,
Lucky Dragons,
The Raincoats,
Manfred Mann's Earth Band,
Warren Ellis,
EPMD,
the Normal,
Roxy Music,
Yellowson,
Mantronix,
Severed Heads,
Newcleus,
Altered Images,
Electric Prunes,
The Names, The Names, The Names, The Names.
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.