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 Zimbabwe and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
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 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 Royal Trux 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 Swans. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
U.S. Maple,
London Community Gospel Choir,
Crime,
Royal Trux,
Blossom Toes,
Alton Ellis,
The Mummies,
Traffic Nightmare,
Fugazi,
Ohio Players,
Albert Ayler,
Organ,
Vladislav Delay,
Unrelated Segments,
the Sonics,
Joey Negro,
Amon Düül II,
Reagan Youth,
Outsiders,
Jesper Dahlback,
John Coltrane,
Oppenheimer Analysis,
China Crisis,
John Cale,
The Sound,
Letta Mbulu,
Country Joe & The Fish,
Gerry Rafferty,
Boz Scaggs,
Soul Sonic Force,
The Moody Blues,
Make Up,
Agitation Free,
Maurizio,
the Slits,
Lightning Bolt,
Deakin,
Nirvana,
Audionom,
Danielle Patucci,
Nils Olav,
Sunsets and Hearts,
Icehouse,
Selector Dub Narcotic,
Desert Stars,
The Blackbyrds,
Eurythmics,
Echo & the Bunnymen,
Spandau Ballet,
Adolescents,
Malaria!,
Pere Ubu,
Notorious BIG live in Amsterdam,
Motorama,
The Gories,
Man Eating Sloth,
The Fuzztones,
the Swans,
Camberwell Now,
The Fire Engines,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.