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 Mali and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 James Chance & The Contortions to the funk kids.
I played it at the Crocodile.
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 Fluxion. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delta 5,
Dr. Dre and Snoop Doggy Dog,
Matthew Bourne,
Throbbing Gristle,
Howard Jones,
The Doobie Brothers,
Rufus Thomas,
Inner City,
Radiopuhelimet,
Glambeats Corp.,
The Cure,
Sonny Sharrock,
Henry Cow,
Whodini,
Japan,
Little Man,
Marc Romboy vs. Booka Shade,
Fela Kuti,
The Electric Prunes,
The Leaves,
Joe Smooth,
Mark Hollis,
Soft Machine,
Dawn Penn,
Richard Hell and the Voidoids,
Ajijia Myrayebe,
The Birthday Party,
Terrestrial Tones,
Kool G Rap & DJ Polo,
Essential Logic,
Infiniti,
The Monks,
Scrapy,
Janne Schatter,
Leonard Cohen,
EPMD,
It's A Beautiful Day,
Index,
Moss Icon,
The J.B.'s,
Cecil Taylor,
Buzzcocks,
Graham Central Station,
Nirvana,
a-ha,
Rowland S Howard / Lydia Lunch,
cv313,
Bill Near,
Los Fastidios,
Desert Stars,
Zapp,
Notorious Big And Bone Thugs,
Harry Pussy,
the Human League,
The Slackers,
Yaz,
Soul Sonic Force,
Icehouse,
Technova,
Hardrive,
A Flock of Seagulls,
Thompson Twins,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.