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 Cuba and from Delhi.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Tehran and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 Average White Band to the punk kids.
I played it at the Troubador.
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 Joyce Sims. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
FM Einheit,
Radiopuhelimet,
The Move,
The Human League,
Fatback Band,
Gil Scott-Heron & Brian Jackson,
Second Layer,
Adolescents,
Clear Light,
Flipper,
Angels of Light & Akron/Family,
Arab on Radar,
The Moleskins,
Technova,
Groovy Waters,
Harmonia,
Peter Gordon & Love of Life Orchestra,
U.S. Maple,
Blake Baxter,
Ludus,
Urselle,
Larry & the Blue Notes,
Notorious Big And Bone Thugs,
Nation of Ulysses,
The Pop Group,
Sad Lovers and Giants,
Masters at Work,
Henry Cow,
Boz Scaggs,
Make Up,
Faraquet,
Fort Wilson Riot,
Warsaw,
Fluxion,
Audionom,
David Bowie,
Thinking Fellers Union Local 282,
Nirvana,
Al Stewart,
The Fire Engines,
Sexual Harrassment,
Grey Daturas,
Jandek,
The Star Department,
The Sound,
The Cramps,
Jacob Miller,
Simply Red,
Boogie Down Productions,
Gil Scott Heron,
Khruangbin,
Derrick May,
Gang Green,
Sugar Minott,
Colin Newman,
Kango’s Stein Massive,
Eurythmics,
Eric Copeland,
Index,
Marvin Gaye,
The Mighty Diamonds,
Echospace,
Matthew Bourne,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.