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 Namibia and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Delhi and Paris.
I'm losing my edge to the art-school New York 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Rhythim Is Rhythim to the disco 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 Public Image Ltd.. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Last Poets record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
New York Dolls,
Nils Olav,
Outsiders,
Blancmange,
Kenny Larkin,
Vainqueur,
The Mighty Diamonds,
Eddi Front,
Big Daddy Kane,
PIL,
Japan,
the Slits,
Lucky Dragons,
Bill Near,
Lalann,
Donald Byrd,
Jeff Mills,
Dawn Penn,
Rakim,
Siouxsie and the Banshees,
Archie Shepp,
Kevin Saunderson,
Sam Rivers,
Eden Ahbez,
Vaughan Mason & Crew,
Jimmy McGriff,
Oneida,
Man Eating Sloth,
The Human League,
The United States of America,
A Certain Ratio,
ABC,
Crispy Ambulance,
Danielle Patucci,
Dual Sessions,
U.S. Maple,
Symarip,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Matthew Bourne,
Tubeway Army,
Kaleidoscope,
Stereo Dub,
The Saints,
In Retrospect,
Brand Nubian,
Harry Pussy,
Throbbing Gristle,
Lou Reed & Metallica,
Deutsch Amerikanische Freundschaft,
Joey Negro,
Lindisfarne,
The Detroit Cobras,
The New Christs,
The Smoke,
Aural Exciters,
Franke,
Kings Of Tomorrow,
The West Coast Pop Art Experimental Band,
Mission of Burma,
cv313,
The Divine Comedy,
Pole, Pole, Pole, Pole.
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.