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 Senegal and from Winnipeg.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the güiro 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 Faraquet to the rock 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 Joe Smooth. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
China Crisis,
Whodini,
Kool Moe Dee,
Reagan Youth,
Wire,
Big Daddy Kane,
Maurizio,
The Slackers,
Newcleus,
The Slits,
Johnny Clarke,
Selector Dub Narcotic,
Soft Cell,
Roy Ayers,
Archie Shepp,
The Cramps,
Suburban Knight,
The Cowsills,
The Barracudas,
Harpers Bizarre,
Robert Görl,
Pharaoh Sanders and the Fire Engines,
Skaos,
Jacques Brel,
New York Dolls,
Funkadelic,
Minutemen,
Parry Music,
Q65,
Susan Cadogan,
Visionaries,LMNO, T- Love & Iriscience,
Q and Not U,
Nik Kershaw,
Ash Ra Tempel,
The Remains,
Basic Channel,
Cluster,
Barry Ungar,
Ohio Players,
The Blackbyrds,
Aural Exciters,
Sällskapet,
Electric Light Orchestra,
Black Bananas,
Delon & Dalcan,
Simply Red,
Wasted Youth,
Kevin Saunderson,
The Five Americans,
It's A Beautiful Day,
R.M.O.,
Terrestrial Tones,
Cheater Slicks,
Faraquet,
Zero Boys,
Hashim,
The Walker Brothers,
Trumans Water,
Underground Resistance,
Quantec,
Dawn Penn,
Sun City Girls,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.