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 India and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Philadelphia 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 organ sounds with much patience.
I was there when Tom Verlaine 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 James White and The Blacks 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 Kerri Chandler. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Kevin Saunderson,
Avey Tare,
Wire,
Jesper Dahlbäck,
Young Marble Giants,
June Days,
Warsaw,
Quadrant,
Judy Mowatt,
Amon Düül,
Bad Manners,
Black Moon,
the Swans,
Rhythim Is Rhythim,
Terry Callier,
Major Organ And The Adding Machine,
Alice Coltrane,
D'Angelo,
Gastr Del Sol,
E-Dancer,
Deakin,
The Young Rascals,
Icehouse,
Gregory Isaacs,
Scratch Acid,
The Divine Comedy,
Delta 5,
Bizarre Inc.,
Zero Boys,
Charles Mingus,
Roy Ayers,
Sister Nancy,
Grey Daturas,
Gichy Dan,
Maurizio,
Section 25,
This Heat,
Justin Hinds & The Dominoes,
Newcleus,
Depeche Mode,
Public Image Ltd.,
Teenage Jesus and the Jerks,
Kool Moe Dee,
Tomorrow,
Siglo XX,
China Crisis,
Duran Duran,
Mr. Review,
Nico,
The Raincoats,
Heavy D & The Boyz,
Black Bananas,
Blake Baxter,
Bauhaus,
Japan,
Essential Logic,
Kaleidoscope,
Electric Light Orchestra,
Gong,
Neu!,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.