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 Thailand and from Edmonton.
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 1976.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Portland 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar 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 Cal Tjader to the techno kids.
I played it at the Troubador.
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 Jerry Gold Smith. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Make Up 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 '80s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Grey Daturas,
Erasure,
Albert Ayler,
Gang Starr,
The Monochrome Set,
Lou Christie,
Delon & Dalcan,
Blancmange,
Gian Franco Pienzio,
Soft Machine,
Minny Pops,
The Black Dice,
The Durutti Column,
Lalann,
Tears for Fears,
Gregory Isaacs,
Brass Construction,
the Human League,
Colin Newman,
Neil Young,
the Slits,
The Buckinghams,
Donny Hathaway,
Liaisons Dangereuses,
The Pop Group,
Rufus Thomas,
Dawn Penn,
Gil Scott Heron,
The Grass Roots,
The Standells,
Organ,
Aaron Thompson,
Buzzcocks,
KRS-One,
Magazine,
James Chance & The Contortions,
Rhythim Is Rhythim,
June of 44,
Wighnomy Brothers & Robag Wruhme,
X-Ray Spex,
Pharoah Sanders,
The Names,
The Fall,
Maleditus Sound,
Stockholm Monsters,
Youth Brigade,
Eric Copeland,
Fela Kuti,
Amon Düül,
Faraquet,
Kauko Röyhkä ja Narttu,
The Remains,
Avey Tare & Kría Brekkan,
Harmonia,
Aloha Tigers,
Throbbing Gristle,
Nick Fraelich,
Royal Trux,
Connie Case,
Bush Tetras,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.