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 Canada and from Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1977.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school Copenhagen 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 The Walker Brothers to the jazz kids.
I played it at the Hacienda.
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 Max Romeo. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Brothers Johnson,
U.S. Maple,
The Fire Engines,
R.M.O.,
Quadrant,
Gian Franco Pienzio,
Crooked Eye,
Eyeless In Gaza,
Charles Mingus,
Loose Ends,
L. Decosne,
Sound Behaviour,
Excepter,
The Alarm Clocks,
Unrelated Segments,
Josef K,
Kaleidoscope,
Manfred Mann's Earth Band,
Henry Cow,
Andrew Ashong & Theo Parrish,
The Jesus and Mary Chain,
Mad Mike,
Q and Not U,
The Moleskins,
Lakeside,
Circle Jerks,
Tom Boy,
Vaughan Mason & Crew,
Essential Logic,
Panda Bear,
Grey Daturas,
Mars,
Fort Wilson Riot,
Radio Birdman,
Ituana,
Steve Hackett,
Prince Buster,
Swans,
Nation of Ulysses,
The Vogues,
Vladislav Delay,
Bauhaus,
the Swans,
Johnny Osbourne,
T.S.O.L.,
The Monochrome Set,
The Angels of Light,
Sly & The Family Stone,
Pharoah Sanders,
Lucky Dragons,
Avey Tare's Slasher Flicks,
Archie Shepp,
Livin' Joy,
Ice-T,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
B.T. Express,
Rhythm & Sound,
Brass Construction,
Roy Ayers Ubiquity,
Junior Murvin,
Quantec,
Danielle Patucci,
Technova, Technova, Technova, Technova.
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.