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 Liechtenstein and from Copenhagen.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 John Coltrane to the jazz kids.
I played it at the Troubador.
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 Talk Talk. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Ajijia Myrayebe,
Von Mondo,
Heavy D & The Boyz,
the Normal,
X-101,
Deepchord,
Gil Scott-Heron and Jamie xx,
Nas,
Delon & Dalcan,
Interpol,
The Offenders,
Freddie Wadling,
Terrestrial Tones,
Ultimate Spinach,
The Buckinghams,
the Sonics,
Country Teasers,
Sun City Girls,
Hasil Adkins,
Stockholm Monsters,
Nils Olav,
Big Daddy Kane,
Monks,
Althea and Donna,
Shoche,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
MDC,
The Cosmic Jokers,
Tommy Roe,
the Association,
Hot Snakes,
Whodini,
Boredoms,
Moby Grape,
Stiv Bators,
Amon Düül,
A Certain Ratio,
World's Most,
The Slackers,
Index,
Urselle,
Magazine,
The Pop Group,
Royal Trux,
Unrelated Segments,
Deadbeat,
Blossom Toes,
Wire,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jacques Brel,
Jacob Miller,
Bobby Womack,
Gil Scott Heron,
Sun Ra,
Robert Wyatt,
Dorothy Ashby,
Black Flag,
Yusef Lateef,
Buzzcocks,
Tim Buckley,
Eric Dolphy,
Anakelly,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.