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 Belarus and from Bologna.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Gil Scott-Heron & Brian Jackson 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 A Flock of Seagulls. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Bobby Womack 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
Half Japanese,
The Offenders,
Terry Callier,
Peter & Gordon,
The Monochrome Set,
Cal Tjader,
Marmalade,
The Selecter,
The Move,
LL Cool J,
Isaac Hayes,
Pylon,
Barry Ungar,
Tres Demented,
Bill Near,
Gastr Del Sol,
Nas,
The Fire Engines,
Joey Negro,
Ultravox,
June of 44,
Girls At Our Best!,
Ituana,
The Misunderstood,
Gang Starr,
The Blues Magoos,
Can,
The Shadows of Knight,
Deutsch Amerikanische Freundschaft,
The J.B.'s,
Al Stewart,
Ash Ra Tempel,
Dual Sessions,
John Lydon,
Jimmy McGriff,
The Busters,
U.S. Maple,
Thee Headcoats,
The Slackers,
Warsaw,
Throbbing Gristle,
Tears for Fears,
Sun City Girls,
L. Decosne,
Gang of Four,
Joe Finger,
Bootsy's Rubber Band,
Joy Division,
Yaz,
Lungfish,
Andrew Ashong & Theo Parrish,
Country Teasers,
Drexciya,
Youth Brigade,
The Red Krayola,
La Düsseldorf,
H. Thieme,
Parry Music,
Barclay James Harvest,
Chris & Cosey,
kango's stein massive,
Little Man,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.