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 Guinea and from Portland.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Houston and Shanghai.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Fire Engines to the dance 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 Sonics. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Laurel Aitken,
The West Coast Pop Art Experimental Band,
Neil Young & Crazy Horse,
The Royal Family And The Poor,
Bad Manners,
Derrick May,
The Barracudas,
The Knickerbockers,
Kango’s Stein Massive,
Harry Pussy,
Bang on a Can All-Stars,
A Flock of Seagulls,
Faraquet,
Soul II Soul,
Bill Wells,
Heavy D & The Boyz,
Gang Starr,
Lizzy Mercier Descloux,
Peter and Kerry,
Lalo Schifrin,
The Flesh Eaters,
Subhumans,
Scientists,
Pierre Henry,
Au Pairs,
Lou Reed & John Cale,
Mandrill,
Deutsch Amerikanische Freundschaft,
Kayak,
Radiohead,
Connie Case,
Barry Ungar,
Porter Ricks,
Ituana,
John Coltrane,
Nation of Ulysses,
The Mojo Men,
Dawn Penn,
Kool Moe Dee,
Jacob Miller,
Angry Samoans,
Rhythim Is Rhythim,
Darondo,
Brass Construction,
London Community Gospel Choir,
The American Breed,
X-101,
Stereo Dub,
Davy DMX,
Tears for Fears,
The Leaves,
Crash Course in Science,
Roxy Music,
Cabaret Voltaire,
X-102,
Joy Division,
The Chocolate Watch Band,
Donald Byrd,
Gil Scott-Heron and Jamie xx,
Youth Brigade,
Sun City Girls,
Justin Hinds & The Dominoes,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.