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 Sudan and from Tokyo.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 New York Dolls 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 The Pretty Things. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
cv313,
Underground Resistance,
Morten Harket,
The United States of America,
Strawberry Alarm Clock,
Public Image Ltd.,
A Certain Ratio,
Avey Tare & Kría Brekkan,
The Star Department,
Wings,
Tears for Fears,
Albert Ayler,
Reagan Youth,
Schoolly D,
the Slits,
Rhythim Is Rhythim,
Pete Rock & C.L. Smooth,
Procol Harum,
Deakin,
The Fall,
H. Thieme,
Notorious Big And Bone Thugs,
Faraquet,
Metal Thangz,
Yaz,
Donny Hathaway,
Rufus Thomas,
Urselle,
Sly & The Family Stone,
Johnny Osbourne,
Youth Brigade,
Peter & Gordon,
Soulsonic Force,
Goldenarms,
R.M.O.,
Juan Atkins,
Minny Pops,
Barry Ungar,
Ornette Coleman,
The Stooges,
Hardrive,
Whodini,
Deepchord,
EPMD,
Japan,
Pet Shop Boys,
F. McDonald,
Man Parrish,
Circle Jerks,
Colin Newman,
Malaria!,
Red Lorry Yellow Lorry,
Laurel Aitken,
The Searchers,
Grauzone,
Harmonia,
Country Teasers,
Lizzy Mercier Descloux,
Sad Lovers and Giants,
China Crisis,
Crooked Eye,
Livin' Joy, Livin' Joy, Livin' Joy, Livin' Joy.
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.