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 Togo and from Woodstock.
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 Salvador and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 DeepChord presents Echospace to the electroclash kids.
I played it at Trash.
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 Amon Düül. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
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,
Clear Light,
Unrelated Segments,
Aswad,
Art Ensemble Of Chicago,
Royal Trux,
Delta 5,
Big Daddy Kane,
The New Christs,
The Mummies,
Marine Girls,
Pere Ubu,
A Flock of Seagulls,
Popol Vuh,
Traffic Nightmare,
Theoretical Girls,
Derrick May,
Sarah Menescal,
Ludus,
Grandmaster Flash,
Shuggie Otis,
Marvin Gaye,
Nick Cave & The Bad Seeds,
Pagans,
The Real Kids,
The Dave Clark Five,
Cluster,
Piero Umiliani,
Dr. Dre and Snoop Doggy Dog,
Patti Smith,
Buzzcocks,
Inner City,
F. McDonald,
Pantytec,
Yellowson,
Minutemen,
Derrick Morgan,
The Fugs,
Lizzy Mercier Descloux,
Index,
The Cosmic Jokers,
Radiopuhelimet,
Ronnie Foster,
China Crisis,
Matthew Halsall,
Bluetip,
The Pop Group,
Alison Limerick,
Pylon,
Blake Baxter,
Black Sheep,
Cymande,
Eve St. Jones,
Public Enemy,
Brothers Johnson,
Goldenarms,
The Angels of Light,
Country Teasers,
The Leaves,
R.M.O.,
Eric Dolphy,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.