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 Georgia and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 New York and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 güiro 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 The Kinks to the dance 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 The Peanut Butter Conspiracy. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
The American Breed,
Eurythmics,
Mission of Burma,
DeepChord presents Echospace,
Duran Duran,
The Flesh Eaters,
Ronan,
Lungfish,
Faust,
The Music Machine,
Scrapy,
Stiv Bators,
Justin Hinds & The Dominoes,
Can,
Max Romeo,
Sexual Harrassment,
Brand Nubian,
London Community Gospel Choir,
The West Coast Pop Art Experimental Band,
Louis and Bebe Barron,
Terror Squad Feat. Camron,
The Peanut Butter Conspiracy,
Darondo,
Roger Hodgson,
Grey Daturas,
The Blackbyrds,
This Heat,
Von Mondo,
Amon Düül II,
Johnny Osbourne,
Absolute Body Control,
The Toasters,
Sugar Minott,
Aloha Tigers,
The Index,
Nation of Ulysses,
Main Source,
Buzzcocks,
Infiniti,
MDC,
Jesper Dahlbäck,
MC5,
Shuggie Otis,
The Cowsills,
Arthur Verocai,
Cal Tjader,
Wighnomy Brothers & Robag Wruhme,
Yellowson,
Minor Threat,
Major Organ And The Adding Machine,
OOIOO,
Mandrill,
Depeche Mode,
Sun City Girls,
Sun Ra Arkestra,
Lee Hazlewood,
Bobbi Humphrey,
Eve St. Jones,
Lizzy Mercier Descloux,
Eric Dolphy,
The Associates,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.