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 Lithuania and from Accra.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Edmonton and New York.
I'm losing my edge to the art-school Bologna 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 1976 at the first Chic practice in a loft in New York.
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 Mo-Dettes to the grunge kids.
I played it at the Troubador.
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 Eddi Front. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
Alton Ellis,
PIL,
Niagra,
Basic Channel,
Derrick Morgan,
Bang on a Can All-Stars,
Kurtis Blow,
Marshall Jefferson,
Janne Schatter,
John Coltrane,
Chrome,
Technova,
Robert Wyatt,
Bronski Beat,
The Young Rascals,
Theoretical Girls,
Minutemen,
Rotary Connection,
Jeru the Damaja,
Fifty Foot Hose,
Justin Hinds & The Dominoes,
Jacob Miller,
Roxy Music,
Bootsy's Rubber Band,
the Slits,
Byron Stingily,
Hot Snakes,
Sixth Finger,
Röyhkä ja Rättö ja Lehtisalo,
The Victims,
The Chocolate Watch Band,
Newcleus,
Sparks,
Echo & the Bunnymen,
Henry Cow,
Simply Red,
Fugazi,
John Lydon,
Cabaret Voltaire,
A Certain Ratio,
Radiopuhelimet,
Soul Sonic Force,
Franke,
The Mummies,
Drive Like Jehu,
Lee Hazlewood,
the Normal,
Grauzone,
Dead Boys,
Sandy B,
Harpers Bizarre,
Jawbox,
Davy DMX,
Louis and Bebe Barron,
Susan Cadogan,
Mo-Dettes,
Donald Byrd,
The Cowsills,
Blake Baxter,
Black Bananas,
Hasil Adkins,
Outsiders,
The Wake, The Wake, The Wake, The Wake.
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.