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 Pakistan and from Bologna.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 LL Cool J to the rock 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 Fatback Band. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Babytalk,
Lucky Dragons,
David McCallum,
The West Coast Pop Art Experimental Band,
The Victims,
Pulsallama,
Can,
The Offenders,
The Invisible,
Electric Light Orchestra,
The Blues Magoos,
Saccharine Trust,
Moss Icon,
Alison Limerick,
The Tremeloes,
Matthew Halsall,
Heaven 17,
The Smiths,
The New Christs,
Gary Puckett & The Union Gap,
Fifty Foot Hose,
Maleditus Sound,
Pere Ubu,
Wighnomy Brothers & Robag Wruhme,
The Dave Clark Five,
Röyhkä ja Rättö ja Lehtisalo,
The Gladiators,
Interpol,
D'Angelo,
Adolescents,
DeepChord presents Echospace,
The Doors,
Marc Romboy vs. Booka Shade,
The Peanut Butter Conspiracy,
Mandrill,
Vainqueur,
Soulsonic Force,
Quando Quango,
Matthew Bourne,
Liliput,
Jeff Lynne,
Ituana,
Grandmaster Flash and the Furious Five,
Nation of Ulysses,
Toni Rubio,
Peter & Gordon,
Sarah Menescal,
Roxy Music,
Gichy Dan,
Bobby Womack,
Boredoms,
David Axelrod,
Letta Mbulu,
The Cure,
Magma,
Bluetip,
Grandmaster Flash,
Wings,
Thinking Fellers Union Local 282,
AZ,
Cecil Taylor,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.