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 Andorra and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Manchester 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 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 Jimmy McGriff to the grime kids.
I played it at the Spitz.
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 Make Up. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal rock 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 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Cybotron,
Lalo Schifrin,
Average White Band,
Roy Ayers Ubiquity,
Don Cherry,
Television,
Severed Heads,
Barbara Tucker,
Moebius,
Funky Four + One,
Captain Beefheart & His Magic Band,
cv313,
Swans,
The Zeros,
Heavy D & The Boyz,
Groovy Waters,
Steve Hackett,
The Dead C,
Sound Behaviour,
Harmonia,
Selector Dub Narcotic,
Kings Of Tomorrow,
Audionom,
Q65,
Al Stewart,
Monks,
Crime,
Pantaleimon,
Bad Manners,
London Community Gospel Choir,
T. Rex,
Marshall Jefferson,
Pussy Galore,
Rhythm & Sound,
Guru Guru,
Laurel Aitken,
The Leaves,
The Standells,
DeepChord presents Echospace,
Orchestral Manoeuvres in the Dark,
Trumans Water,
the Slits,
Super Lover Cee & Casanova Rud,
Thinking Fellers Union Local 282,
Bob Dylan,
Bobby Sherman,
Quantec,
OOIOO,
Ken Boothe,
Public Image Ltd.,
Can,
Kaleidoscope,
The J.B.'s,
The Move,
MC5,
Ornette Coleman,
KRS-One,
Model 500,
Sunsets and Hearts,
Urselle,
Shoche,
Liliput,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.