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 Guinea-Bissau and from Manila.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Mexico City.
I'm losing my edge to the art-school Spokane 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Section 25 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 Siouxsie and the Banshees. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal rap 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Brothers Johnson,
Sly & The Family Stone,
Patti Smith,
Severed Heads,
Soft Cell,
Pere Ubu,
DJ Style,
A Flock of Seagulls,
Electric Prunes,
Vainqueur,
The Gladiators,
Bauhaus,
Andrew Hill,
Gian Franco Pienzio,
The Electric Prunes,
Warsaw,
Symarip,
DJ Sneak,
The Birthday Party,
The Leaves,
Siglo XX,
The Divine Comedy,
Nik Kershaw,
Bang on a Can All-Stars,
Darondo,
Bluetip,
Spoonie Gee,
Average White Band,
Bob Dylan,
Chris & Cosey,
Peter Gordon & Love of Life Orchestra,
Royal Trux,
Wighnomy Brothers & Robag Wruhme,
Marmalade,
Gong,
Max Romeo,
Grey Daturas,
The Smiths,
X-101,
Laurel Aitken,
Quadrant,
David Axelrod,
Piero Umiliani,
Joensuu 1685,
Fatback Band,
Leonard Cohen,
This Heat,
EPMD,
Ossler,
The Pretty Things,
Fort Wilson Riot,
K-Klass,
World's Most,
Jerry Gold Smith,
Deakin,
Strawberry Alarm Clock,
Wings,
Gang of Four,
Joe Finger,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.