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 Mongolia and from Woodstock.
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 1967 to 1978.
I'm losing my edge.
To all the kids in London and Calgary.
I'm losing my edge to the art-school Mexico City 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 Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Tubeway Army to the grime 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 Metal Thangz. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
Dave Gahan,
Orchestral Manoeuvres in the Dark,
Sandy B,
Sight & Sound,
Nation of Ulysses,
Cabaret Voltaire,
The Birthday Party,
The Young Rascals,
The Beau Brummels,
K-Klass,
Clear Light,
The Evens,
Rites of Spring,
Bang on a Can All-Stars,
Faraquet,
The West Coast Pop Art Experimental Band,
Todd Rundgren,
Donald Byrd,
JFA,
Strawberry Alarm Clock,
MC5,
Kevin Saunderson,
Lizzy Mercier Descloux,
Fatback Band,
Ultravox,
The Fugs,
Stockholm Monsters,
Bang On A Can,
Country Teasers,
A Flock of Seagulls,
Pole,
Moby Grape,
The Sound,
Louis and Bebe Barron,
the Association,
Deadbeat,
Pantaleimon,
Ten City,
Fear,
Girls At Our Best!,
CMW,
Vaughan Mason & Crew,
Gil Scott-Heron & Brian Jackson,
The Velvet Underground,
Alice Coltrane,
Deutsch Amerikanische Freundschaft,
Fluxion,
The Neon Judgement,
Basic Channel,
Duran Duran,
Gang of Four,
Blancmange,
Joe Finger,
Don Cherry,
Fad Gadget,
The Count Five,
Scientists,
Mad Mike,
D'Angelo,
Derrick Morgan,
E-Dancer,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.