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 Kazakhstan and from Madrid.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Manila and Lagos.
I'm losing my edge to the art-school Paris 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 mellotron 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 Johnny Osbourne to the punk 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 The Kinks. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Make Up,
The Associates,
Deutsch Amerikanische Freundschaft,
Captain Beefheart & His Magic Band,
Pantaleimon,
David Axelrod,
Drive Like Jehu,
Pierre Henry,
Basic Channel,
Sparks,
Kas Product,
Jacob Miller,
The Neon Judgement,
Model 500,
ABBA,
EPMD,
Tres Demented,
Swans,
Urselle,
Roy Ayers,
Section 25,
The Cowsills,
Stetsasonic,
Sandy B,
Lafayette Afro Rock Band,
Vladislav Delay,
PIL,
Lonnie Liston Smith,
The Monks,
Peter & Gordon,
The Victims,
Morten Harket,
Godley & Creme,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Barclay James Harvest,
Eve St. Jones,
Inner City,
Television,
The Chocolate Watch Band,
AZ,
Sugar Minott,
Beasts of Bourbon,
Todd Terry,
LL Cool J,
Scott Walker,
Dead Boys,
Brand Nubian,
Lucky Dragons,
The Residents,
Ultra Naté,
Aswad,
Pulsallama,
Visage,
The Selecter,
Roy Ayers Ubiquity,
Eurythmics,
The Gap Band,
Cecil Taylor,
Faraquet,
The Dave Clark Five,
The Seeds,
K-Klass, K-Klass, K-Klass, K-Klass.
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.