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 South Africa and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Spokane and Beijing.
I'm losing my edge to the art-school Salvador 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 spring reverb 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 Brand Nubian to the disco kids.
I played it at CBGB's.
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 John Coltrane. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every The Young Rascals 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 '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Pagans,
Ultimate Spinach,
Ultramagnetic MC's,
Rahsaan Roland Kirk,
The Selecter,
Stockholm Monsters,
James White and The Blacks,
Godley & Creme,
Barclay James Harvest,
The Barracudas,
the Swans,
Q65,
The Leaves,
The Mummies,
Kool G Rap & DJ Polo,
Bizarre Inc.,
Young Marble Giants,
Warren Ellis,
R.M.O.,
Slick Rick,
The Residents,
Gil Scott-Heron & Brian Jackson,
Colin Newman,
The Raincoats,
Moss Icon,
The Wake,
Todd Rundgren,
Eddi Front,
Röyhkä ja Rättö ja Lehtisalo,
Electric Prunes,
Stereo Dub,
Skarface,
Smog,
The Cosmic Jokers,
Silicon Teens,
Tears for Fears,
Motorama,
Pantytec,
Albert Ayler,
Deepchord,
The Skatalites,
Mr. Review,
Country Joe & The Fish,
Interpol,
Scion,
Nirvana,
Ronnie Foster,
the Normal,
Television,
F. McDonald,
The Slits,
The Stooges,
Spoonie Gee,
Y Pants,
Audionom,
Isaac Hayes,
The Monks,
Index,
Roger Hodgson,
The Jesus and Mary Chain,
Dark Day,
Erykah Badu,
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.