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 Slovakia and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Philadelphia.
I'm losing my edge to the art-school Lagos 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare 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 Bush Tetras to the grime kids.
I played it at CBGB's.
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 Slick Rick. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Bang on a Can All-Stars 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 '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Chrome,
Cecil Taylor,
Stiv Bators,
Robert Görl,
The Move,
Quadrant,
U.S. Maple,
Letta Mbulu,
Captain Beefheart & His Magic Band,
Zero Boys,
Soul II Soul,
Scratch Acid,
The Fortunes,
Mad Mike,
The Invisible,
Wolf Eyes,
Gil Scott Heron,
Angry Samoans,
Manfred Mann's Earth Band,
Susan Cadogan,
Pere Ubu,
ABBA,
Blossom Toes,
The Remains,
Glambeats Corp.,
Orchestral Manoeuvres in the Dark,
Alphaville,
The Pretty Things,
Judy Mowatt,
Selector Dub Narcotic,
Moby Grape,
Das Ding,
Duran Duran,
Bluetip,
Vladislav Delay,
The Music Machine,
DJ Style,
Marc Almond,
Barry Ungar,
Don Cherry,
James Chance & The Contortions,
The Mighty Diamonds,
Unrelated Segments,
The Offenders,
Audionom,
Bush Tetras,
Mantronix,
Wighnomy Brothers & Robag Wruhme,
Jeff Lynne,
Country Teasers,
Fort Wilson Riot,
Jesper Dahlbäck,
Make Up,
Brass Construction,
Henry Cow,
DJ Sneak,
Rites of Spring,
In Retrospect,
Jeff Mills,
Interpol,
June of 44,
Tim Buckley,
John Holt, John Holt, John Holt, John Holt.
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.