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 Turkmenistan and from Lille.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Columbus and Cairo.
I'm losing my edge to the art-school Accra 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 synthesizer 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 Spandau Ballet to the grunge 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 Lyres. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Country Teasers 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Jacques Brel,
Andrew Ashong & Theo Parrish,
Heavy D & The Boyz,
Whodini,
Isaac Hayes,
The Raincoats,
Hot Snakes,
Rotary Connection,
OOIOO,
Spandau Ballet,
The Last Poets,
Cheater Slicks,
Richard Hell and the Voidoids,
Quadrant,
Selector Dub Narcotic,
The West Coast Pop Art Experimental Band,
Electric Light Orchestra,
The Wake,
Harry Pussy,
Vaughan Mason & Crew,
Eric Dolphy,
The Gun Club,
Marcia Griffiths,
Pulsallama,
Fear,
Bush Tetras,
Super Lover Cee & Casanova Rud,
Subhumans,
Amon Düül,
Banda Bassotti,
Absolute Body Control,
David Axelrod,
The Monochrome Set,
Can,
Dead Boys,
Public Image Ltd.,
Brand Nubian,
The Red Krayola,
8 Eyed Spy,
Sun Ra Arkestra,
Dark Day,
Rapeman,
Flipper,
Wolf Eyes,
Oneida,
Blake Baxter,
Black Bananas,
Minnie Riperton,
Sunsets and Hearts,
MDC,
Laurel Aitken,
The Evens,
Ultra Naté,
The Doors,
Godley & Creme,
Peter & Gordon,
Roger Hodgson,
Wasted Youth,
Gary Puckett & The Union Gap,
Deakin,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.