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 Uzbekistan and from Cairo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
I'm losing my edge to the art-school London 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 linndrum 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 Aural Exciters to the jazz kids.
I played it at the Spitz.
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 Model 500. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
the Soft Cell,
The Skatalites,
Spandau Ballet,
Jacob Miller,
The Fire Engines,
Girls At Our Best!,
Y Pants,
the Slits,
Matthew Bourne,
Porter Ricks,
Tim Buckley,
Loose Ends,
KRS-One,
James White and The Blacks,
Arab on Radar,
MDC,
Deutsch Amerikanische Freundschaft,
Symarip,
Blake Baxter,
Chris Corsano,
Man Parrish,
Sexual Harrassment,
Bill Wells,
F. McDonald,
JFA,
Derrick May,
Hot Snakes,
Reuben Wilson,
Kerrie Biddell,
Jimmy McGriff,
Joyce Sims,
The Dirtbombs,
The Move,
Rapeman,
The Happenings,
Grey Daturas,
Spoonie Gee,
World's Most,
Amon Düül,
Thompson Twins,
Mission of Burma,
Sticky Fingaz feat. Raekwon,
Scott Walker + Sunn O))),
Make Up,
Dave Gahan,
Donald Byrd,
Boredoms,
Lonnie Liston Smith,
Rowland S Howard / Lydia Lunch,
The J.B.'s,
Dead Boys,
Erykah Badu,
Whodini,
Arthur Verocai,
Intrusion,
John Cale,
Wings,
Heavy D & The Boyz,
Robert Wyatt,
Lee Hazlewood,
The Associates,
Ten City, Ten City, Ten City, Ten City.
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.