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 Tehran.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Edmonton 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 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 Fear to the grime kids.
I played it at the Astoria.
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 Patti Smith. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Yaz 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro 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 Cowsills,
Icehouse,
Patti Smith,
Yazoo,
Throbbing Gristle,
F. McDonald,
The Residents,
Make Up,
Ronnie Foster,
JFA,
Tommy Roe,
Grandmaster Flash,
Lou Christie,
Youth Brigade,
Bauhaus,
The Gladiators,
Arab on Radar,
Girls At Our Best!,
Sexual Harrassment,
Ronan,
Rekid,
Negative Approach,
Minny Pops,
Shuggie Otis,
John Foxx,
Fifty Foot Hose,
Heaven 17,
The Slackers,
Alphaville,
The Divine Comedy,
The Names,
Bootsy's Rubber Band,
The Dave Clark Five,
The Shadows of Knight,
Eddi Front,
Clear Light,
Echospace,
Barrington Levy,
The Seeds,
Black Pus,
June Days,
Unrelated Segments,
The Mummies,
Jerry's Kids,
Lower 48,
Grandmaster Flash and the Furious Five,
Lungfish,
Country Joe & The Fish,
Motorama,
Gil Scott-Heron & Brian Jackson,
cv313,
Ohio Players,
Charles Mingus,
Quadrant,
The Grass Roots,
Kevin Saunderson,
Mo-Dettes,
Black Sheep,
Ludus,
Boz Scaggs,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.