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 Greece and from Tehran.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Mumbai 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 UT to the grime 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 Mo-Dettes. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
The Young Rascals,
X-Ray Spex,
Pantytec,
Byron Stingily,
Unwound,
The J.B.'s,
The West Coast Pop Art Experimental Band,
Brick,
Aswad,
Pere Ubu,
JFA,
48th St. Collective,
Warsaw,
Warren Ellis,
Buzzcocks,
U.S. Maple,
The Index,
Roxy Music,
Aaron Thompson,
Lou Reed,
the Swans,
Art Ensemble Of Chicago,
Blossom Toes,
Peter & Gordon,
Radio Birdman,
The Vogues,
Bill Wells,
The Evens,
Roxette,
Charles Mingus,
The American Breed,
Swans,
Jesper Dahlbäck,
The Last Poets,
Jeru the Damaja,
Freddie Wadling,
ABC,
The Jesus and Mary Chain,
Urselle,
the Soft Cell,
Silicon Teens,
Tubeway Army,
Skriet,
Simply Red,
Blake Baxter,
The Happenings,
Soft Cell,
Gang Green,
Ohio Players,
Camberwell Now,
Robert Wyatt,
Basic Channel,
Main Source,
David Axelrod,
Public Image Ltd.,
World's Most,
Wasted Youth,
The Neon Judgement,
Kevin Saunderson,
LL Cool J,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.