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 Somalia and from Shanghai.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Tokyo and London.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 the Soft Cell to the rock 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 Notorious BIG live in Amsterdam. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Black Flag 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 '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
Reagan Youth,
Masters at Work,
The Invisible,
Darondo,
Swell Maps,
Cybotron,
Gil Scott Heron,
The Pretty Things,
Alice Coltrane,
Chris & Cosey,
Bronski Beat,
Rhythm & Sound,
L. Decosne,
Eden Ahbez,
Robert Wyatt,
ABBA,
Anthony Braxton,
Tres Demented,
the Swans,
The Men They Couldn't Hang,
Duran Duran,
Main Source,
Johnny Clarke,
Grandmaster Flash,
The Associates,
Theoretical Girls,
Arthur Verocai,
The Alarm Clocks,
Circle Jerks,
Ajijia Myrayebe,
X-101,
The Standells,
Flash Fearless,
June of 44,
Organ,
Major Organ And The Adding Machine,
Zapp,
Soft Cell,
Peter & Gordon,
The Trojans,
Bang On A Can,
Drive Like Jehu,
Panda Bear,
Marcia Griffiths,
Patti Smith,
Traffic Nightmare,
Con Funk Shun,
Amazonics,
In Retrospect,
Severed Heads,
Kayak,
The Dirtbombs,
Toni Rubio,
Marine Girls,
Monolake,
Gastr Del Sol,
Khruangbin,
Ohio Players,
David Bowie,
The Gap Band,
Audionom,
Donald Byrd,
Cymande, Cymande, Cymande, Cymande.
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.