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 Korea South and from Cairo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Columbus and Shanghai.
I'm losing my edge to the art-school Cairo 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 harpsichord 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 Iggy Pop 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 PIL. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Toni Rubio 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Yusef Lateef,
Jeff Mills,
Electric Light Orchestra,
Juan Atkins,
Theoretical Girls,
Barclay James Harvest,
The Zeros,
Thinking Fellers Union Local 282,
Gil Scott-Heron and Jamie xx,
James White and The Blacks,
Arab on Radar,
The Electric Prunes,
Qualms,
The Motions,
Dead Boys,
Matthew Halsall,
Mark Hollis,
Curtis Mayfield,
Pierre Henry,
B.T. Express,
Peter and Kerry,
Drexciya,
Make Up,
The Invisible,
Roy Ayers Ubiquity,
Duran Duran,
Ultramagnetic MC's,
Lindisfarne,
Deepchord,
Jacques Brel,
FM Einheit,
Gian Franco Pienzio,
Godley & Creme,
Barrington Levy,
Jesper Dahlback,
Kenny Larkin,
Slick Rick,
Severed Heads,
Unrelated Segments,
Organ,
Bill Wells,
Cabaret Voltaire,
Con Funk Shun,
Red Lorry Yellow Lorry,
Pere Ubu,
Fort Wilson Riot,
A Flock of Seagulls,
Visage,
Fatback Band,
Ultimate Spinach,
The Happenings,
Pulsallama,
Andrew Ashong & Theo Parrish,
Bootsy Collins,
Teenage Jesus and the Jerks,
Carl Craig,
The Jesus and Mary Chain,
Shuggie Otis,
the Bar-Kays,
Terry Callier,
EPMD,
Dorothy Ashby,
The Index, The Index, The Index, The Index.
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.