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 Solomon Islands and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Portland.
I'm losing my edge to the art-school Tehran 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 guitar sounds with much patience.
I was there when Michael McDonald 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 June Days to the electroclash kids.
I played it at CBGB's.
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 Lizzy Mercier Descloux. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Minnie Riperton 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Jesper Dahlbäck,
The Motions,
The Cowsills,
Sly & The Family Stone,
Andrew Ashong & Theo Parrish,
New Age Steppers,
Soul Sonic Force,
Camouflage,
Drexciya,
Chrome,
Röyhkä ja Rättö ja Lehtisalo,
Kurtis Blow,
Heaven 17,
The Peanut Butter Conspiracy,
Los Fastidios,
Sam Rivers,
Rakim,
Schoolly D,
Moss Icon,
Agitation Free,
Thee Headcoats,
Skarface,
Minor Threat,
Fela Kuti,
Michelle Simonal,
8 Eyed Spy,
Shuggie Otis,
Barry Ungar,
Blake Baxter,
The Gap Band,
Ash Ra Tempel,
Bobbi Humphrey,
Can,
Gregory Isaacs,
James Chance & The Contortions,
Kaleidoscope,
Rhythm & Sound,
Alison Limerick,
Underground Resistance,
Peter & Gordon,
The Names,
Gang Starr,
Jeru the Damaja,
Teenage Jesus and the Jerks,
K-Klass,
Byron Stingily,
Scientists,
Radio Birdman,
The Moody Blues,
Donny Hathaway,
Lou Reed & Metallica,
The Count Five,
Babytalk,
Suburban Knight,
Bauhaus,
Boz Scaggs,
Curtis Mayfield,
Kas Product,
Von Mondo,
Jacques Brel,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.