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 Saudi Arabia and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Paris.
I'm losing my edge to the art-school Beijing 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 Nile Rodgers 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 Reagan Youth to the disco 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 The Happenings. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Cabaret Voltaire,
Black Sheep,
Excepter,
China Crisis,
Cymande,
Art Ensemble Of Chicago,
Bang on a Can All-Stars,
Gang Starr,
The Fall,
Tears for Fears,
Q and Not U,
Kerri Chandler,
Mad Mike,
The Evens,
Neil Young,
Larry & the Blue Notes,
Kenny Larkin,
Junior Murvin,
Kas Product,
Japan,
Underground Resistance,
Sunsets and Hearts,
Circle Jerks,
Idris Muhammad,
Throbbing Gristle,
New York Dolls,
Interpol,
Royal Trux,
Toni Rubio,
Kurtis Blow,
Henry Cow,
Camouflage,
Roxy Music,
Gichy Dan,
A Certain Ratio,
Gabor Szabo,
John Coltrane,
The Sonics,
The Cosmic Jokers,
Malaria!,
Sister Nancy,
Stereo Dub,
Matthew Halsall,
Lakeside,
Franke,
The Mighty Diamonds,
Electric Prunes,
Amazonics,
Erasure,
Panda Bear,
Marc Romboy vs. Booka Shade,
Siglo XX,
Fela Kuti,
The Men They Couldn't Hang,
Amon Düül,
Roy Ayers,
Major Organ And The Adding Machine,
Avey Tare's Slasher Flicks,
Isaac Hayes,
Crash Course in Science,
The Litter,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.