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 Senegal and from Salvador.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
I'm losing my edge to the art-school Taipei 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 Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 Brand Nubian to the punk kids.
I played it at Trash.
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 B.T. Express. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Panda Bear,
Chrome,
Rapeman,
Matthew Bourne,
a-ha,
New York Dolls,
Absolute Body Control,
Marc Romboy vs. Booka Shade,
Joe Smooth,
Deutsch Amerikanische Freundschaft,
Ten City,
DJ Style,
Scion,
Grey Daturas,
Fat Boys,
Siglo XX,
Roxy Music,
Visage,
Stereo Dub,
Scientists,
The Toasters,
The Remains,
Major Organ And The Adding Machine,
The Seeds,
Bill Wells,
Roy Ayers,
Graham Central Station,
Alphaville,
Peter & Gordon,
Outsiders,
Gregory Isaacs,
Quantec,
Curtis Mayfield,
Radiohead,
Connie Case,
Flash Fearless,
Howard Jones,
Leonard Cohen,
The Peanut Butter Conspiracy,
Faraquet,
Kevin Saunderson,
Public Image Ltd.,
Cecil Taylor,
Andrew Hill,
Kauko Röyhkä ja Narttu,
Rhythim Is Rhythim,
B.T. Express,
Sonic Youth,
Vaughan Mason & Crew,
Technova,
Notorious BIG live in Amsterdam,
Gil Scott Heron,
Pantaleimon,
Thee Headcoats,
Matthew Halsall,
Carl Craig,
Lebanon Hanover,
Janne Schatter,
The Detroit Cobras,
The Mummies,
The Golliwogs,
The Move, The Move, The Move, The Move.
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.