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 Samoa and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 Lille and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 sitar 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 Dorothy Ashby to the electroclash kids.
I played it at the Astoria.
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 Whodini. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Model 500 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 a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Scan 7,
Tommy Roe,
U.S. Maple,
H. Thieme,
Boz Scaggs,
Moss Icon,
Roy Ayers Ubiquity,
Selector Dub Narcotic,
Scott Walker,
Hoover,
Clear Light,
Dead Boys,
The Fortunes,
The Blackbyrds,
Roger Hodgson,
Eurythmics,
The Remains,
X-102,
Godley & Creme,
In Retrospect,
Danielle Patucci,
Crispy Ambulance,
Pharoah Sanders,
Altered Images,
Brothers Johnson,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Massinfluence,
Gregory Isaacs,
Boogie Down Productions,
Grauzone,
Carl Craig,
Barclay James Harvest,
La Düsseldorf,
Sunsets and Hearts,
the Fania All-Stars,
The Divine Comedy,
Soft Machine,
The Detroit Cobras,
Saccharine Trust,
Guru Guru,
The Moleskins,
Gang Starr,
Qualms,
James White and The Blacks,
Shuggie Otis,
Gil Scott Heron,
The Kinks,
Franke,
PIL,
Fear,
Ponytail,
The Velvet Underground,
Pussy Galore,
Main Source,
The Five Americans,
Country Joe & The Fish,
New York Dolls,
The Litter,
Flash Fearless,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.