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 Eritrea and from Seoul.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Beijing 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet 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 Fela Kuti to the crunk 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 The Techniques. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
The Mojo Men,
Bill Wells,
Black Bananas,
Yusef Lateef,
Icehouse,
Brass Construction,
Orchestral Manoeuvres in the Dark,
Tropical Tobacco,
Juan Atkins,
Bobby Byrd,
Marc Romboy vs. Booka Shade,
Stereo Dub,
the Association,
Underground Resistance,
Byron Stingily,
The Victims,
Captain Beefheart & His Magic Band,
Grauzone,
Max Romeo,
The Cowsills,
John Holt,
The American Breed,
the Soft Cell,
Little Man,
The Golliwogs,
The Fall,
Whodini,
The Names,
Suburban Knight,
Shuggie Otis,
The Smoke,
D'Angelo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
MDC,
Stiv Bators,
Josef K,
Buzzcocks,
Gang Gang Dance,
Accadde A,
The Busters,
Girls At Our Best!,
The Divine Comedy,
The Slits,
The Move,
Soft Cell,
Barry Ungar,
Tomorrow,
The Shadows of Knight,
The Kinks,
Red Lorry Yellow Lorry,
Ten City,
Marshall Jefferson,
Sparks,
Bobbi Humphrey,
David Bowie,
Neil Young & Crazy Horse,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.