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 Tunisia and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school Cairo 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 Chic practice in a loft in New York.
I was working on the 808 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 Fugs to the electroclash 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 T. Rex. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Joe Smooth,
Scratch Acid,
Section 25,
Super Lover Cee & Casanova Rud,
Black Bananas,
Mark Hollis,
Steve Hackett,
Ohio Players,
Glenn Branca,
Brick,
The New Christs,
New Age Steppers,
Pantaleimon,
Echo & the Bunnymen,
Lucky Dragons,
Throbbing Gristle,
Cecil Taylor,
Electric Light Orchestra,
X-102,
Fear,
Gary Puckett & The Union Gap,
Gregory Isaacs,
Qualms,
Fela Kuti,
James Chance & The Contortions,
The Detroit Cobras,
New York Dolls,
Eyeless In Gaza,
Jawbox,
Yusef Lateef,
Deakin,
The Angels of Light,
Andrew Ashong & Theo Parrish,
Young Marble Giants,
Aswad,
Negative Approach,
Bill Wells,
Bobby Sherman,
Freddie Wadling,
Alice Coltrane,
The Barracudas,
Audionom,
Arthur Verocai,
Sarah Menescal,
Bad Manners,
L. Decosne,
the Sonics,
Dead Boys,
John Coltrane,
Radiohead,
Albert Ayler,
Rekid,
The Modern Lovers,
Gian Franco Pienzio,
Tres Demented,
Bobby Hutcherson,
The Neon Judgement,
Can,
In Retrospect,
Royal Trux,
Visionaries,LMNO, T- Love & Iriscience,
Newcleus,
Shuggie Otis,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.