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 Stockholm.
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 1973.
I'm losing my edge.
To all the kids in Toronto and Jakarta.
I'm losing my edge to the art-school Portland 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 harpsichord 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 Marshall Jefferson to the jazz kids.
I played it at the Crocodile.
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 The Cramps. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
The Alarm Clocks,
Flash Fearless,
Monks,
The Chocolate Watch Band,
Tres Demented,
DJ Sneak,
Groovy Waters,
Brand Nubian,
Sex Pistols,
The Leaves,
Joyce Sims,
The Young Rascals,
Rakim,
Bill Near,
Barrington Levy,
Little Man,
Robert Wyatt,
Blake Baxter,
Swell Maps,
Colin Newman,
Fluxion,
the Sonics,
Public Enemy,
The Knickerbockers,
Slave,
Supertramp,
Public Image Ltd.,
John Cale,
Rod Modell,
Bobby Byrd,
Theoretical Girls,
Tommy Roe,
Ponytail,
Television,
Maurizio,
The Jesus and Mary Chain,
Amazonics,
Beasts of Bourbon,
Ken Boothe,
Stereo Dub,
Masters at Work,
Mo-Dettes,
The Gladiators,
Joy Division,
The Fortunes,
John Foxx,
Don Cherry,
Dorothy Ashby,
Adolescents,
Desert Stars,
The American Breed,
Magazine,
Rotary Connection,
Basic Channel,
Minny Pops,
Bizarre Inc.,
Scan 7,
The Red Krayola,
Grandmaster Flash and the Furious Five,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.