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 St Kitts & Nevis and from Accra.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Woodstock 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 spring reverb 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 Livin' Joy to the disco 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 Fear. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Country Teasers 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Hutcherson record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Black Pus,
Larry & the Blue Notes,
Anakelly,
Johnny Clarke,
Gary Puckett & The Union Gap,
Schoolly D,
New Age Steppers,
Groovy Waters,
Charles Mingus,
The Buckinghams,
Joensuu 1685,
It's A Beautiful Day,
Sam Rivers,
The Mojo Men,
Siouxsie and the Banshees,
The Motions,
The Durutti Column,
Altered Images,
Eddi Front,
Cabaret Voltaire,
Skriet,
The Cure,
Amon Düül II,
Faraquet,
Donald Byrd,
The Red Krayola,
The Divine Comedy,
Robert Wyatt,
Joey Negro,
Magazine,
The Pop Group,
The Men They Couldn't Hang,
Babytalk,
Faust,
Fifty Foot Hose,
Nik Kershaw,
Moebius,
Blossom Toes,
Flamin' Groovies,
Pagans,
Tropical Tobacco,
Eric Dolphy,
Organ,
Minutemen,
Deakin,
Quantec,
Reagan Youth,
Avey Tare & Kría Brekkan,
Captain Beefheart & His Magic Band,
The Golliwogs,
The Slits,
Warsaw,
Sparks,
Fatback Band,
Shuggie Otis,
Chrome,
The Mummies,
Little Man,
Kango’s Stein Massive,
London Community Gospel Choir,
Mr. Review,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.