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 Poland and from Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Calgary and Lille.
I'm losing my edge to the art-school Delhi 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 FM Einheit to the rap kids.
I played it at the Spitz.
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 Marc Almond. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
PIL,
The Vogues,
Theoretical Girls,
John Lydon,
Johnny Osbourne,
Gian Franco Pienzio,
Erasure,
the Germs,
Orchestral Manoeuvres in the Dark,
Black Sheep,
Radiohead,
Stereo Dub,
Avey Tare's Slasher Flicks,
Charles Mingus,
Sister Nancy,
Fear,
Ludus,
Eli Mardock,
Gang of Four,
Cecil Taylor,
Man Eating Sloth,
Maurizio,
The Fortunes,
Sound Behaviour,
The Move,
The Remains,
Second Layer,
The Names,
Graham Central Station,
Gastr Del Sol,
Roxette,
Bootsy's Rubber Band,
Wolf Eyes,
Peter & Gordon,
the Fania All-Stars,
The Fire Engines,
David Axelrod,
The American Breed,
Radio Birdman,
Sonic Youth,
Ultimate Spinach,
U.S. Maple,
Tom Boy,
Frankie Knuckles,
Kevin Saunderson,
Mantronix,
Chrome,
The Slits,
Eden Ahbez,
Deutsch Amerikanische Freundschaft,
Sandy B,
Ohio Players,
Soft Cell,
Goldenarms,
Saccharine Trust,
Neil Young & Crazy Horse,
Andrew Hill,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.