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 Kosovo and from Bologna.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Paris and Calgary.
I'm losing my edge to the art-school New York 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 snare 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 Shuggie Otis to the jazz 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 Barry Ungar. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Buzzcocks,
LL Cool J,
Dawn Penn,
Excepter,
Scott Walker,
Michelle Simonal,
Bobby Byrd,
Echospace,
Alphaville,
Angry Samoans,
Fad Gadget,
Franke,
John Cale,
Bizarre Inc.,
Todd Terry,
Lindisfarne,
Sonny Sharrock,
The Moleskins,
Drexciya,
Barbara Tucker,
Rowland S Howard / Lydia Lunch,
Cabaret Voltaire,
Eurythmics,
L. Decosne,
Minny Pops,
Grey Daturas,
F. McDonald,
Peter and Kerry,
Susan Cadogan,
Steve Hackett,
The Dirtbombs,
Isaac Hayes,
Tears for Fears,
Subhumans,
Bang On A Can,
Shuggie Otis,
Eden Ahbez,
Scott Walker + Sunn O))),
Brass Construction,
Cymande,
Jeff Mills,
Fluxion,
Supertramp,
Black Pus,
Sex Pistols,
The Motions,
Bad Manners,
Lizzy Mercier Descloux,
Sällskapet,
Suicide,
The Skatalites,
Moebius,
London Community Gospel Choir,
Kings Of Tomorrow,
Drive Like Jehu,
Yaz,
Matthew Bourne,
Frankie Knuckles,
Pantytec,
The Cure,
Bobby Sherman,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.