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 Kosovo and from Beijing.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Lagos 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Quadrant to the jazz kids.
I played it at the Spitz.
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 Stiv Bators. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Thompson Twins 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Tears for Fears,
Pantaleimon,
The Martian,
James Chance & The Contortions,
Robert Görl,
Lindisfarne,
Ajijia Myrayebe,
The Toasters,
Public Enemy,
Scott Walker,
Brass Construction,
Kerri Chandler,
Johnny Osbourne,
Art Ensemble Of Chicago,
Qualms,
The Barracudas,
Grauzone,
Gang Gang Dance,
Metal Thangz,
Lebanon Hanover,
Man Parrish,
Boredoms,
Drive Like Jehu,
Lyres,
Talk Talk,
Half Japanese,
Pharoah Sanders,
Jeru the Damaja,
Rufus Thomas,
Radiohead,
The Young Rascals,
Todd Terry,
Dennis Brown,
Ronnie Foster,
OOIOO,
The Kinks,
Selector Dub Narcotic,
Sandy B,
David Bowie,
Jimmy McGriff,
The Leaves,
Ultra Naté,
Scratch Acid,
Grandmaster Flash and the Furious Five,
Nick Fraelich,
Tropical Tobacco,
The Men They Couldn't Hang,
Orchestral Manoeuvres in the Dark,
Slave,
Subhumans,
The Chocolate Watch Band,
Darondo,
Sixth Finger,
Rahsaan Roland Kirk,
Average White Band,
Fugazi,
Index,
H. Thieme,
Moebius,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.