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 Benin and from London.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school Johannesburg 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 güiro sounds with much patience.
I was there when Holger Czukay 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 T. Rex to the disco 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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Television Personalities,
Dorothy Ashby,
Brass Construction,
The Doors,
Kevin Saunderson,
Y Pants,
Cecil Taylor,
Buzzcocks,
Heaven 17,
The Sisters of Mercy,
The Modern Lovers,
Angry Samoans,
Skaos,
Porter Ricks,
Swell Maps,
Kerrie Biddell,
Quadrant,
Scott Walker + Sunn O))),
Kaleidoscope,
Max Romeo,
Lightning Bolt,
The Moleskins,
Gregory Isaacs,
La Düsseldorf,
Black Bananas,
Electric Light Orchestra,
Bobby Byrd,
Thompson Twins,
Bill Near,
Cybotron,
Leonard Cohen,
The Gap Band,
Rites of Spring,
Procol Harum,
Susan Cadogan,
Symarip,
Ajijia Myrayebe,
Dawn Penn,
The Litter,
The Blackbyrds,
Bang On A Can,
Lizzy Mercier Descloux,
Jesper Dahlbäck,
Aloha Tigers,
The Sound,
Blake Baxter,
Tubeway Army,
Ultimate Spinach,
Junior Murvin,
The Searchers,
the Sonics,
Mandrill,
Roxette,
The Walker Brothers,
Avey Tare,
Matthew Halsall,
Cymande,
Anakelly,
Zero Boys,
Flamin' Groovies,
Warren Ellis,
The Names, The Names, The Names, The Names.
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.