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 Bulgaria and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1961 to 1970.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school Delhi 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 snare 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 Pharaoh Sanders and the Fire Engines to the jazz kids.
I played it at the Astoria.
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 Henry Cow. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
The Pop Group,
Amon Düül,
Severed Heads,
The Remains,
Traffic Nightmare,
Shoche,
The Count Five,
This Heat,
The New Christs,
Guru Guru,
F. McDonald,
The American Breed,
Infiniti,
MC5,
Eyeless In Gaza,
The Fire Engines,
Arthur Verocai,
Delta 5,
Peter Gordon & Love of Life Orchestra,
Wings,
Althea and Donna,
Echo & the Bunnymen,
DJ Sneak,
Japan,
New York Dolls,
Crash Course in Science,
Roy Ayers Ubiquity,
The Kinks,
Art Ensemble Of Chicago,
H. Thieme,
Sly & The Family Stone,
Gary Puckett & The Union Gap,
Masters at Work,
Ronan,
Jesper Dahlbäck,
John Holt,
The Smoke,
Frankie Knuckles,
Suburban Knight,
John Cale,
Malaria!,
Porter Ricks,
Organ,
Talk Talk,
Essential Logic,
Eric Dolphy,
The Selecter,
Rhythim Is Rhythim,
Tommy Roe,
Adolescents,
The Trojans,
Accadde A,
Robert Hood,
The Electric Prunes,
Section 25,
Kool Moe Dee,
Gabor Szabo,
JFA,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & 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.