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 Honduras and from Delhi.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Manila and London.
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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Procol Harum to the rock kids.
I played it at the Crocodile.
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 Barry Ungar. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every The J.B.'s record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 Guru Guru record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Lee Hazlewood,
Louis and Bebe Barron,
Wighnomy Brothers & Robag Wruhme,
Heavy D & The Boyz,
Roxette,
Pulsallama,
The Royal Family And The Poor,
The Jesus and Mary Chain,
Ash Ra Tempel,
The Detroit Cobras,
Colin Newman,
Wally Richardson,
Graham Central Station,
Masters at Work,
Gabor Szabo,
U.S. Maple,
Barrington Levy,
Tropical Tobacco,
Terry Callier,
Brothers Johnson,
Reagan Youth,
The Saints,
Massinfluence,
Severed Heads,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Popol Vuh,
Cheater Slicks,
Pylon,
Bang On A Can,
Angels of Light & Akron/Family,
Brick,
Excepter,
Television Personalities,
Godley & Creme,
Soft Cell,
Crime,
Sun Ra,
Ultravox,
Can,
The American Breed,
Public Image Ltd.,
Royal Trux,
Moby Grape,
Avey Tare's Slasher Flicks,
Oneida,
The Mighty Diamonds,
Magazine,
The Offenders,
Deadbeat,
Index,
Frankie Knuckles,
JFA,
Aswad,
New Order,
Rotary Connection,
The Neon Judgement,
Jerry Gold Smith,
The Cowsills,
The Associates, The Associates, The Associates, The Associates.
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.