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 Laos 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 1966 to 1977.
I'm losing my edge.
To all the kids in Lyon and Accra.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Chic practice in a loft in New York.
I was working on the sitar 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 The Fire Engines to the techno 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 Maurizio. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every The Selecter 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 '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
Kool G Rap & DJ Polo,
Black Flag,
The Fall,
Tropical Tobacco,
Terrestrial Tones,
Arcadia,
The Blackbyrds,
Kings Of Tomorrow,
Fluxion,
The Remains,
Cymande,
New Order,
PIL,
Kurtis Blow,
T.S.O.L.,
Liaisons Dangereuses,
the Human League,
Infiniti,
L. Decosne,
Hasil Adkins,
Laurel Aitken,
Lightning Bolt,
The Seeds,
The Fortunes,
Babytalk,
Lou Christie,
Gastr Del Sol,
Ornette Coleman,
Bang on a Can All-Stars,
Joy Division,
Gary Puckett & The Union Gap,
Sonic Youth,
Amazonics,
Matthew Halsall,
Vaughan Mason & Crew,
Girls At Our Best!,
Popol Vuh,
Schoolly D,
The Men They Couldn't Hang,
Susan Cadogan,
The Trojans,
Yusef Lateef,
The Black Dice,
Sällskapet,
Interpol,
Moby Grape,
Boredoms,
The Fire Engines,
Rowland S Howard / Lydia Lunch,
AZ,
Roxy Music,
Clear Light,
Oblivians,
Japan,
Grandmaster Flash,
H. Thieme,
Rites of Spring,
Minutemen,
Slick Rick,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.