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 New Zealand and from Philadelphia.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Cairo and Delhi.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum 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 The Neon Judgement to the techno kids.
I played it at Cafe Wha.
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 Patti Smith. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Blancmange 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Notorious Big And Bone Thugs,
Todd Rundgren,
The Detroit Cobras,
Scott Walker + Sunn O))),
Warren Ellis,
Charles Mingus,
Wire,
Mad Mike,
A Flock of Seagulls,
Pulsallama,
Crime,
Fort Wilson Riot,
The Busters,
Marcia Griffiths,
Lou Reed & Metallica,
Johnny Osbourne,
The Wake,
The Beau Brummels,
Reuben Wilson,
Liliput,
Harpers Bizarre,
Icehouse,
Ronan,
Delta 5,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Birthday Party,
Lee Hazlewood,
Frankie Knuckles,
The Fire Engines,
Livin' Joy,
Swell Maps,
The Searchers,
Ultravox,
The Five Americans,
Faust,
Todd Terry,
Accadde A,
Ice-T,
The Index,
Erasure,
Matthew Halsall,
The Happenings,
Erykah Badu,
The Durutti Column,
The Flesh Eaters,
Wasted Youth,
Nas,
Schoolly D,
Quando Quango,
Tres Demented,
The Fall,
Fatback Band,
Half Japanese,
Black Moon,
The Cowsills,
The Modern Lovers,
Deutsch Amerikanische Freundschaft,
Audionom,
Urselle,
Gong,
Idris Muhammad,
Notorious BIG live in Amsterdam,
Bang on a Can All-Stars,
Hashim, Hashim, Hashim, Hashim.
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.