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 New Zealand and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school London 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 rhodes 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 The Last Poets to the funk kids.
I played it at the 40 Watt.
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 Neon Judgement. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Interpol,
Bobby Byrd,
Maleditus Sound,
Slave,
Ossler,
Colin Newman,
Bronski Beat,
Eve St. Jones,
Rhythim Is Rhythim,
Lonnie Liston Smith,
Tommy Roe,
Sällskapet,
Toni Rubio,
Whodini,
Kauko Röyhkä ja Narttu,
Bill Wells,
John Coltrane,
Nas,
Oppenheimer Analysis,
Leonard Cohen,
A Flock of Seagulls,
Anakelly,
Smog,
Bootsy Collins,
Sight & Sound,
PIL,
Stiv Bators,
Harpers Bizarre,
Hashim,
Ponytail,
Michelle Simonal,
Faust,
Notorious Big And Bone Thugs,
Spoonie Gee,
The Martian,
The Electric Prunes,
Big Daddy Kane,
Henry Cow,
Man Eating Sloth,
Lou Reed & John Cale,
Yazoo,
Beasts of Bourbon,
Idris Muhammad,
Bobby Womack,
X-101,
Bauhaus,
Chris & Cosey,
Cluster,
MC5,
Ultra Naté,
Pantytec,
Deepchord,
Joy Division,
Ultravox,
The Raincoats,
Suicide,
Parry Music,
The United States of America,
Young Marble Giants,
Bob Dylan,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.