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 France and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Lagos and Milan.
I'm losing my edge to the art-school Manila 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 chamberlin 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 Roy Ayers Ubiquity to the rock kids.
I played it at the Roxy.
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 Thee Headcoats. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Pere Ubu 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
The Blues Magoos,
Section 25,
Dawn Penn,
H. Thieme,
Minny Pops,
Radio Birdman,
Throbbing Gristle,
Laurel Aitken,
Idris Muhammad,
Susan Cadogan,
Tommy Roe,
Gregory Isaacs,
The Fugs,
Dead Boys,
The Sisters of Mercy,
Moss Icon,
Eve St. Jones,
Echo & the Bunnymen,
The Angels of Light,
Wings,
Eli Mardock,
Marvin Gaye,
the Soft Cell,
R.M.O.,
Jeru the Damaja,
Buzzcocks,
Von Mondo,
Neil Young & Crazy Horse,
Siglo XX,
The Victims,
Freddie Wadling,
K-Klass,
Davy DMX,
Icehouse,
Rhythm & Sound,
Strawberry Alarm Clock,
Sam Rivers,
Donald Byrd,
Peter and Kerry,
The Mojo Men,
Kerrie Biddell,
the Germs,
Main Source,
Gil Scott Heron,
Lonnie Liston Smith,
ABBA,
UT,
Sonny Sharrock,
Swell Maps,
Charles Mingus,
The Stooges,
Minutemen,
8 Eyed Spy,
Ossler,
Tears for Fears,
The Sound,
Joey Negro,
Tom Boy,
The Smiths,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.