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 Mozambique and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Toronto and Columbus.
I'm losing my edge to the art-school Tehran 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 güiro 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 Donald Byrd to the techno 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 the Swans. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Neil Young 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
John Lydon,
Rhythim Is Rhythim,
Soft Machine,
Bizarre Inc.,
The Offenders,
Graham Central Station,
Wasted Youth,
Sonic Youth,
London Community Gospel Choir,
Arab on Radar,
Vainqueur,
Severed Heads,
The Fuzztones,
The Detroit Cobras,
Barclay James Harvest,
A Certain Ratio,
Bobby Byrd,
Rod Modell,
H. Thieme,
The Neon Judgement,
Jesper Dahlback,
One Last Wish,
Deutsch Amerikanische Freundschaft,
Intrusion,
The Moody Blues,
Surgeon,
Arcadia,
MC5,
Qualms,
The Cure,
Bill Wells,
The Motions,
Grandmaster Flash and the Furious Five,
Rowland S Howard / Lydia Lunch,
Public Enemy,
Black Flag,
ABBA,
Zero Boys,
Alice Coltrane,
Gastr Del Sol,
Sun Ra Arkestra,
Justin Hinds & The Dominoes,
Lizzy Mercier Descloux,
Public Image Ltd.,
Chris & Cosey,
Eyeless In Gaza,
Gerry Rafferty,
Strawberry Alarm Clock,
Pere Ubu,
Symarip,
Agitation Free,
Newcleus,
48th St. Collective,
Shoche,
The Slackers,
a-ha,
The Gun Club,
Rakim,
Cecil Taylor,
Cybotron,
The Index,
Dorothy Ashby,
The Human League,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.