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 Monaco and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Spokane 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Deadbeat to the rap kids.
I played it at Cafe Wha.
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 James Chance & The Contortions. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every The Star Department 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 '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Rufus Thomas,
Grandmaster Flash,
Ludus,
Visage,
Marcia Griffiths,
James White and The Blacks,
Reuben Wilson,
Harpers Bizarre,
Anakelly,
Motorama,
Outsiders,
Gang Gang Dance,
Joyce Sims,
Shoche,
the Bar-Kays,
Ash Ra Tempel,
Guru Guru,
Lungfish,
Deepchord,
Manfred Mann's Earth Band,
Fort Wilson Riot,
Scott Walker,
Todd Rundgren,
Severed Heads,
Gregory Isaacs,
Deadbeat,
Strawberry Alarm Clock,
Darondo,
Alton Ellis,
Franke,
Rakim,
Alison Limerick,
David Axelrod,
Harry Pussy,
Godley & Creme,
the Slits,
Radiopuhelimet,
Robert Wyatt,
Surgeon,
The Sonics,
Hoover,
The Toasters,
Rod Modell,
Minny Pops,
Make Up,
The Electric Prunes,
Freddie Wadling,
Duran Duran,
Ajijia Myrayebe,
Country Teasers,
Harmonia,
The Cosmic Jokers,
Hasil Adkins,
The Motions,
Ultravox,
Deutsch Amerikanische Freundschaft,
Fatback Band,
Roger Hodgson,
Eddi Front,
Groovy Waters,
The Cowsills,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.