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 Brunei and from Philadelphia.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Delhi and Jakarta.
I'm losing my edge to the art-school Manchester 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 New York Dolls to the dance kids.
I played it at the Roxy.
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 Camron Feat. Jay Z And Juelz. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every The Zeros 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
U.S. Maple,
Skriet,
the Slits,
Heavy D & The Boyz,
Pierre Henry,
Jerry Gold Smith,
Wire,
Cabaret Voltaire,
Roxette,
Girls At Our Best!,
Con Funk Shun,
Desert Stars,
Hot Snakes,
Roger Hodgson,
Sad Lovers and Giants,
Alison Limerick,
John Foxx,
Pete Rock & C.L. Smooth,
Oppenheimer Analysis,
Richard Hell and the Voidoids,
Yaz,
Alton Ellis,
Juan Atkins,
Inner City,
Grandmaster Flash and the Furious Five,
Flamin' Groovies,
The Leaves,
CMW,
Liaisons Dangereuses,
Chrome,
Mark Hollis,
The Trojans,
Flash Fearless,
Motorama,
the Human League,
Kings Of Tomorrow,
The Fuzztones,
Deepchord,
Grauzone,
Kurtis Blow,
A Flock of Seagulls,
Lindisfarne,
Steve Hackett,
Arcadia,
Yusef Lateef,
Smog,
Joyce Sims,
David Axelrod,
Ice-T,
The Zeros,
Gastr Del Sol,
Colin Newman,
The Standells,
The Move,
Suicide,
Fluxion,
Bobby Byrd,
Jacques Brel,
The Slits,
Lalo Schifrin,
Tim Buckley,
The Moleskins,
Rod Modell,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.