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 Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Seoul and Glasgow.
I'm losing my edge to the art-school Portland 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Funkadelic to the dance 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 The Walker Brothers. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every World's Most 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
T. Rex,
The Trojans,
Art Ensemble Of Chicago,
Bill Near,
Throbbing Gristle,
Sonny Sharrock,
Livin' Joy,
Ken Boothe,
Steve Hackett,
Derrick Morgan,
The Mighty Diamonds,
Quantec,
The Knickerbockers,
Marvin Gaye,
Black Sheep,
Bang On A Can,
L. Decosne,
Byron Stingily,
Ronan,
The Dirtbombs,
Trumans Water,
Deutsch Amerikanische Freundschaft,
Eyeless In Gaza,
Sarah Menescal,
John Foxx,
The Toasters,
X-101,
The Peanut Butter Conspiracy,
Bronski Beat,
Q and Not U,
Soulsonic Force,
Yaz,
Crispian St. Peters,
The Young Rascals,
Severed Heads,
Sad Lovers and Giants,
the Human League,
KRS-One,
Larry & the Blue Notes,
Zero Boys,
Babytalk,
Inner City,
Lee Hazlewood,
Ludus,
The Happenings,
Pussy Galore,
Fatback Band,
Freddie Wadling,
Siouxsie and the Banshees,
Spandau Ballet,
Bill Wells,
Technova,
Sight & Sound,
The Red Krayola,
Colin Newman,
Average White Band,
Ice-T,
The Count Five,
The Doobie Brothers,
Richard Hell and the Voidoids,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.