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 China and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Lille 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Tom Boy to the grime kids.
I played it at the 40 Watt.
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 Enemy. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Prince Buster,
Marshall Jefferson,
Flash Fearless,
Radiopuhelimet,
Eli Mardock,
Dave Gahan,
Vaughan Mason & Crew,
Banda Bassotti,
Yusef Lateef,
Gang Starr,
This Heat,
Pantytec,
It's A Beautiful Day,
Darondo,
Moss Icon,
Donald Byrd,
ABC,
Roxette,
Suburban Knight,
the Association,
AZ,
Morten Harket,
The Doors,
Marine Girls,
Porter Ricks,
Visage,
Soft Machine,
Jeru the Damaja,
Judy Mowatt,
Sunsets and Hearts,
Chris Corsano,
Blancmange,
the Normal,
Eyeless In Gaza,
Andrew Hill,
Delta 5,
Notorious BIG live in Amsterdam,
Mission of Burma,
Arcadia,
Selector Dub Narcotic,
Grandmaster Flash,
Alison Limerick,
Pantaleimon,
Tommy Roe,
Magazine,
David Axelrod,
Orchestral Manoeuvres in the Dark,
The Smoke,
Derrick Morgan,
Liaisons Dangereuses,
Stetsasonic,
Gil Scott Heron,
Blossom Toes,
The Victims,
The Gun Club,
Sly & The Family Stone,
Swans,
Notorious Big And Bone Thugs,
Spandau Ballet,
The Knickerbockers,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.