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 Uzbekistan and from Portland.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1961 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Lyon 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 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 Moss Icon 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 Nas. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
E-Dancer,
Henry Cow,
Deadbeat,
One Last Wish,
The Beau Brummels,
Procol Harum,
Captain Beefheart & His Magic Band,
The Fugs,
Main Source,
Sun Ra Arkestra,
Flash Fearless,
Major Organ And The Adding Machine,
Matthew Halsall,
Robert Wyatt,
Sandy B,
Desert Stars,
Reuben Wilson,
Peter Gordon & Love of Life Orchestra,
Janne Schatter,
Ossler,
The Fuzztones,
Jesper Dahlbäck,
Crime,
PIL,
Eric B and Rakim,
Shuggie Otis,
Crash Course in Science,
Severed Heads,
Harry Pussy,
Teenage Jesus and the Jerks,
Ornette Coleman,
Kool Moe Dee,
The Peanut Butter Conspiracy,
Pete Rock & C.L. Smooth,
Scrapy,
Rhythm & Sound,
Khruangbin,
Nick Fraelich,
Rites of Spring,
Lou Christie,
The Cosmic Jokers,
Lonnie Liston Smith,
JFA,
Chris Corsano,
Pylon,
The New Christs,
The Kinks,
Yusef Lateef,
Lou Reed & Metallica,
Sex Pistols,
Byron Stingily,
Radio Birdman,
F. McDonald,
Todd Terry,
The Neon Judgement,
Electric Prunes,
Brass Construction,
Lalo Schifrin,
The Sisters of Mercy,
Peter and Kerry,
ABBA,
Quantec, Quantec, Quantec, Quantec.
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.