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 Uruguay and from Mumbai.
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 1977.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Cairo 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Arthur Verocai to the disco kids.
I played it at Trash.
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 Excepter tracks. I heard you have a vinyl of every Ken Boothe 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Public Image Ltd.,
Groovy Waters,
Gil Scott-Heron and Jamie xx,
Echospace,
Peter and Kerry,
The Grass Roots,
Yellowson,
Ornette Coleman,
Chrome,
Don Cherry,
Mars,
James Chance & The Contortions,
Cybotron,
Kenny Larkin,
Animal Collective,
Roy Ayers,
Underground Resistance,
Funkadelic,
The Doors,
Ash Ra Tempel,
Camouflage,
Cecil Taylor,
The Cowsills,
The Beau Brummels,
June Days,
Gang Green,
Ronan,
Marc Romboy vs. Booka Shade,
AZ,
Cheater Slicks,
Röyhkä ja Rättö ja Lehtisalo,
The Men They Couldn't Hang,
Livin' Joy,
Babytalk,
Lindisfarne,
Gichy Dan,
Kurtis Blow,
The Leaves,
Orchestral Manoeuvres in the Dark,
Bizarre Inc.,
The Move,
Gerry Rafferty,
Godley & Creme,
Intrusion,
John Cale,
Glambeats Corp.,
Nils Olav,
Index,
Shuggie Otis,
Jerry's Kids,
Amazonics,
T. Rex,
Sex Pistols,
The Neon Judgement,
Aloha Tigers,
Ossler,
The Sound,
Quadrant,
Gang Starr,
The Busters,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.