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 Tanzania and from Portland.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Toronto and Manchester.
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 organ 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 Jacques Brel to the disco kids.
I played it at the Troubador.
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 Faraquet. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Steve Hackett 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Symarip,
Carl Craig,
Fear,
Stiv Bators,
Bill Wells,
Easy Going,
JFA,
Johnny Clarke,
World's Most,
The Cosmic Jokers,
Stereo Dub,
Graham Central Station,
New Age Steppers,
Kool Moe Dee,
Röyhkä ja Rättö ja Lehtisalo,
Derrick Morgan,
The Five Americans,
A Certain Ratio,
James Chance & The Contortions,
Section 25,
June Days,
Pussy Galore,
Teenage Jesus and the Jerks,
Moby Grape,
Todd Rundgren,
The Moleskins,
Quadrant,
Major Organ And The Adding Machine,
Thompson Twins,
Jeru the Damaja,
Circle Jerks,
Big Daddy Kane,
The Moody Blues,
Toni Rubio,
Stetsasonic,
The Detroit Cobras,
Ultimate Spinach,
Magma,
Sonny Sharrock,
Pulsallama,
The Evens,
Bobby Hutcherson,
Gil Scott Heron,
Amon Düül II,
Cymande,
T.S.O.L.,
Rakim,
Ronan,
the Germs,
Simply Red,
Clear Light,
Arcadia,
Jacques Brel,
Kauko Röyhkä ja Narttu,
Marcia Griffiths,
Alice Coltrane,
Throbbing Gristle,
D'Angelo,
Bang on a Can All-Stars,
Ituana,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.