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 Luxembourg and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Lille and Spokane.
I'm losing my edge to the art-school Manchester 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 808 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 Major Organ And The Adding Machine to the jazz 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 Peter & Gordon. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal crunk 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Jesper Dahlback,
Röyhkä ja Rättö ja Lehtisalo,
Blake Baxter,
Alison Limerick,
Fugazi,
Lalo Schifrin,
Skarface,
Nirvana,
Mandrill,
The Real Kids,
Grauzone,
Moby Grape,
Eurythmics,
Throbbing Gristle,
Hasil Adkins,
Anthony Braxton,
Ultravox,
Max Romeo,
Ornette Coleman,
Gang of Four,
Toni Rubio,
Pantytec,
Von Mondo,
Johnny Osbourne,
Liliput,
Absolute Body Control,
Cabaret Voltaire,
Henry Cow,
These Immortal Souls,
Stetsasonic,
Bill Near,
The Misunderstood,
David Bowie,
Harpers Bizarre,
Gang Starr,
Lebanon Hanover,
Magma,
Faraquet,
Suburban Knight,
Pere Ubu,
DJ Style,
Gil Scott-Heron & Brian Jackson,
The Doobie Brothers,
Sandy B,
Rowland S Howard / Lydia Lunch,
Terror Squad Feat. Camron,
The Sound,
Minny Pops,
Susan Cadogan,
Ultimate Spinach,
Eric Dolphy,
Amon Düül II,
Todd Terry,
Panda Bear,
Fat Boys,
D'Angelo,
Can,
Bluetip,
Kas Product,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.