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 Chile and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Lille and Calgary.
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 organ sounds with much patience.
I was there when Robert Palmer 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 Mark Hollis to the grime kids.
I played it at the Hacienda.
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 Brick. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Drexciya,
Richard Hell and the Voidoids,
Trumans Water,
David Axelrod,
Fluxion,
Connie Case,
Scratch Acid,
The Men They Couldn't Hang,
Parry Music,
Urselle,
Darondo,
De La Soul & Jungle Brothers,
PIL,
Theoretical Girls,
Los Fastidios,
Deakin,
ABC,
Fad Gadget,
Sonic Youth,
Kool Moe Dee,
Blake Baxter,
Chrome,
Eddi Front,
Dr. Dre and Snoop Doggy Dog,
Deutsch Amerikanische Freundschaft,
Peter & Gordon,
Gerry Rafferty,
Ponytail,
the Bar-Kays,
The West Coast Pop Art Experimental Band,
Peter Gordon & Love of Life Orchestra,
Funkadelic,
Jeru the Damaja,
Kings Of Tomorrow,
Desert Stars,
The Birthday Party,
Camron Feat. Memphis Bleek And Beenie Seigel,
New Age Steppers,
Cameo,
Saccharine Trust,
Newcleus,
Prince Buster,
The Gories,
Strawberry Alarm Clock,
Derrick Morgan,
MDC,
Young Marble Giants,
Larry & the Blue Notes,
Lyres,
Gian Franco Pienzio,
Pylon,
Sly & The Family Stone,
Moss Icon,
Dead Boys,
Wasted Youth,
Traffic Nightmare,
The Gap Band,
The Cowsills,
Mark Hollis,
Faust,
Jacques Brel,
Cluster, Cluster, Cluster, Cluster.
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.