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 Guyana and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1962 to 1976.
I'm losing my edge.
To all the kids in Manila and Milan.
I'm losing my edge to the art-school Milan 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 güiro 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 dance 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 Gang Starr. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal jazz 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 a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
John Coltrane,
The Index,
Ohio Players,
Intrusion,
The Flesh Eaters,
Skriet,
Bizarre Inc.,
Skarface,
The Searchers,
Jerry's Kids,
This Heat,
Hasil Adkins,
MDC,
Dual Sessions,
Lyres,
Sällskapet,
The Dave Clark Five,
Junior Murvin,
Ultimate Spinach,
A Certain Ratio,
Harry Pussy,
Blancmange,
Main Source,
Mo-Dettes,
Iggy Pop,
Young Marble Giants,
Barry Ungar,
Black Bananas,
Flash Fearless,
K-Klass,
Rosa Yemen,
Sun Ra Arkestra,
Minutemen,
Art Ensemble Of Chicago,
Magma,
Fugazi,
Bootsy's Rubber Band,
The Misunderstood,
Von Mondo,
Mary Jane Girls,
Al Stewart,
Au Pairs,
Severed Heads,
Super Lover Cee & Casanova Rud,
Notorious BIG live in Amsterdam,
Sad Lovers and Giants,
The Fall,
Heaven 17,
Soul Sonic Force,
James Chance & The Contortions,
Gang Gang Dance,
The Doors,
Mad Mike,
10cc,
Gerry Rafferty,
Dead Boys,
Pere Ubu,
Agent Orange,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.