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 Montenegro and from Accra.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Madrid.
I'm losing my edge to the art-school Edmonton 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Flipper to the crunk kids.
I played it at the Troubador.
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 Minny Pops. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every The Residents 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 '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
The Velvet Underground,
Rhythim Is Rhythim,
Joe Smooth,
Desert Stars,
Black Bananas,
Spoonie Gee,
X-102,
The Dead C,
Robert Wyatt,
Morten Harket,
Saccharine Trust,
The Five Americans,
Smog,
The Index,
The Real Kids,
Pharaoh Sanders and the Fire Engines,
Amazonics,
Fat Boys,
Jacques Brel,
Mr. Review,
The Invisible,
Kings Of Tomorrow,
MDC,
Sällskapet,
Sugar Minott,
Marine Girls,
Soft Machine,
Icehouse,
The Beau Brummels,
Eli Mardock,
Bang on a Can All-Stars,
Roger Hodgson,
Peter and Kerry,
The Kinks,
K-Klass,
Aural Exciters,
Oneida,
Gil Scott-Heron and Jamie xx,
Y Pants,
Rowland S Howard / Lydia Lunch,
Avey Tare & Kría Brekkan,
Ultravox,
Dead Boys,
James Chance & The Contortions,
Red Lorry Yellow Lorry,
Parry Music,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Adolescents,
Crime,
Ken Boothe,
Gang of Four,
PIL,
Ultimate Spinach,
The Sound,
Reagan Youth,
Bobbi Humphrey,
Notorious BIG live in Amsterdam,
Nico,
Lou Reed,
Kerrie Biddell,
Moebius,
Symarip, Symarip, Symarip, Symarip.
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.