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 Dominican Republic and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1979.
I'm losing my edge.
To all the kids in Bologna and Houston.
I'm losing my edge to the art-school Copenhagen 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 synthesizer 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 Prince Buster to the punk kids.
I played it at the Hacienda.
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 Alphaville. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Blackbyrds,
Junior Murvin,
Underground Resistance,
The Human League,
Kerrie Biddell,
The Cosmic Jokers,
Theoretical Girls,
Robert Wyatt,
AZ,
Mantronix,
David McCallum,
De La Soul & Jungle Brothers,
Bronski Beat,
Heavy D & The Boyz,
Tomorrow,
Janne Schatter,
David Axelrod,
Crime,
Soft Machine,
Lebanon Hanover,
Sly & The Family Stone,
Thee Headcoats,
Danielle Patucci,
Scratch Acid,
Sixth Finger,
Groovy Waters,
The Raincoats,
The Dirtbombs,
Intrusion,
China Crisis,
Amon Düül II,
Symarip,
Absolute Body Control,
The Red Krayola,
John Holt,
The Remains,
Interpol,
Röyhkä ja Rättö ja Lehtisalo,
Lou Christie,
Joensuu 1685,
48th St. Collective,
The Last Poets,
Little Man,
Malaria!,
The Gories,
A Certain Ratio,
The Velvet Underground,
The Moody Blues,
Black Moon,
Reuben Wilson,
Masters at Work,
The Techniques,
L. Decosne,
the Fania All-Stars,
Q65,
The Grass Roots,
Pulsallama,
F. McDonald,
Cybotron,
Tom Boy,
Nik Kershaw,
Lungfish, Lungfish, Lungfish, Lungfish.
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.