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 France and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
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 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 Brand Nubian 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 Minnie Riperton. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every PIL 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
John Holt,
Quadrant,
Echospace,
Gil Scott-Heron & Brian Jackson,
The Toasters,
Kenny Larkin,
Altered Images,
The Motions,
Sarah Menescal,
Eve St. Jones,
Matthew Bourne,
Electric Prunes,
JFA,
Second Layer,
Minutemen,
Y Pants,
Faust,
Radiopuhelimet,
The Modern Lovers,
Quando Quango,
The Sisters of Mercy,
China Crisis,
The Dave Clark Five,
Hardrive,
Wire,
Essential Logic,
Public Image Ltd.,
Supertramp,
Con Funk Shun,
Gil Scott-Heron and Jamie xx,
Laurel Aitken,
Parry Music,
Bootsy Collins,
Scion,
Erasure,
Section 25,
Nils Olav,
Wighnomy Brothers & Robag Wruhme,
Jesper Dahlbäck,
Harpers Bizarre,
Soulsonic Force,
Skarface,
Eli Mardock,
Blancmange,
Kayak,
Cabaret Voltaire,
Darondo,
Intrusion,
Groovy Waters,
K-Klass,
Agitation Free,
The Mighty Diamonds,
Oppenheimer Analysis,
48th St. Collective,
Marvin Gaye,
Echo & the Bunnymen,
The J.B.'s,
Colin Newman,
Kool Moe Dee,
Au Pairs,
The Five Americans,
Marcia Griffiths,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.